IC-NRLF 


SB    2M3    EMfl 


X 


CHARLES   A.   MILLER 


HOW  TO  MAKE  SHOW 
CARDS 


A  practical  treatise  on  the  fundamental 

principles  of  artistic  lettering  with 

pen  and  brush  for  the  use  of 

retail  merchants  and 

their  clerks. 


BY 

CHARLES  A. /MILLER 


WITH  AN  APPENDIX 

Giving  numerous  practical  illustrations  of  work  that 

may  be  done  by  marking  and  shading  pens  and 

brushes,  with  explanations  and  directions. 

BY 
W.  A.  THOMPSON 


SECOND   EDITION 


THE   SPATULA  PUBLISHING  CO. 
BOSTON,  MASSACHUSETTS,  U.S.A. 


Copyright,  1911,  1916,  by  SPATULA  PUBLISHING  Co. 


TABLE  OF  CONTENTS. 

CHAPTER  I. 

GENIUS  NOT  REQUIRED. — Multiplicity  of  books  on  sub 
ject  —  All  different  from  this  —  The  art  may  be  acquired 
by  almost  anyone  —  The  author's  experience  —  The  value 
of  show  card  writing  —  Reasonable  practice. 

CHAPTER  II. 

FREE  HAND  WORK. — Ease  with  which  skill  in  free  hand 
work  may  be  acquired — Methods  of  holding  tools  —  Why 
professionals  say  "  It's  dead  easy"  —  The  use  of  imagina- 
tion—  Guide  lines  soon  discarded. 


CHAPTER  III. 

NECESSARY  TOOLS. — The  better  the  workman  the  fewer 
tools  —  What  brushes  to  buy  —  How  to  tell  a  good  brush 
—  The  importance  of  taking  good  care  of  tools — Brush 
"Dont's"  —  Show  card  paint — How  to  mix  paint  —  How 
to  use  paint. 

497233 


6  TABLE  OF  CONTENTS. 

CHAPTER  IV. 

PRACTICE,  PRINCIPLES  AND  PENCILS. — Surprising  results 
obtained  through  practice  —  Constructive  principles  elu- 
cidated by  monograms  —  Importance  of  drawing  board 
and  T  square — The  necessity  of  practicing  curves,  parallel 
and  oblique  lines  — Pencil  outlining. 

CHAPTER  V. 

PRACTISE  STROKES. —  How  to  outline  letters  with  light 
pencil  strokes  —  Table  showing  various  strokes  composing 
letters  —  Use  of  the  round  writing  pens  —  Perfect  circles 
not  necessary  —  How  to  make  them  —  A  "secret "of  the 
art. 

CHAPTER  VI. 

GEOMETRY  OF  LETTERS.—  Relation  of  capital  letters  to 
each  other  — All  except  three  drawn  in  same  sized  rectan- 
gle—  Letters  grouped  into  five  classes  —  Correspondence 
courses  —  Use  of  monograms  —  I,  L,  F,  E,  H,  T,  V,  A  and 
Z  analyzed. 

CHAPTER  VII. 

GEOMETRY  OF  LETTERS,  CONTINUED.— Analysis  by  mono- 
gram of  the  letters  X,  Y,  N  and  K  — The  rounded  letters 
-  Peculiarities  of  O,  C,  G,  Q,  P,  B,  D,  J,  U,  R,  S,  M  and 
W  —  The  characteristics  of  punctuation  points  and  how  to 
make  them. 

CHAPTER  VIII. 

GEOMETRY  OF  LETTERS,  CONCLUDED. —  The  peculiarities 
of  numerals — Easy  to  make  with  practice — The  ten  digits 
analyzed — The  ampersand  the  most  difficult  character  — 
Just  how  to  make  it  —  How  the  expert  obtains  pleasing 
results. 

CHAPTER  IX. 

ROUND  WRITING  PEN  PRACTICE.— The  best  method  to 
gain  proficiency  in  the  use  of  the  round  writing  pen  — 
Purposes  for  which  it  may  be  used  —  Unsurpassed  for 
making  small  card  signs  for  interior  of  show  cases,  etc. 


TABLE  OF  CONTENTS.  7 

CHAPTER  X. 

SIMPLE  FORMS  OF  LETTERING  AND  How  TO  OUTLINE. — 
The  Alphabet  divided  into  Groups —  i,  Letters  composed 
entirely  of  straight  lines  and  right  angles  —  2,  Letters  com- 
posed wholly  of  oblique  lines  —  3,  Letters  combining  verti- 
cal, horizontal  and  oblique  lines  —  4,  Letters  composed  of 
combined  straight  and  curved  lines  —  5,  Letters  composed 
of  curved  lines. 

CHAPTER  XL 

SINGLE  STROKE  LETTERS.  —  Mostly  used  where  cards  are 
frequently  changed — The  easiest  letters  to  make  are  these 

—  The  differences  between  lower  and  upper  case  letters — 
Value  of  practice  in  making  single  stroke  letters. 

CHAPTER  XII.    ^^ 

LAYOUT  AND  SPACING.— General  principle  of  the  layout— 
A  concrete  example  showing  how  a  7  x  u  card  should  be 
arranged  —  Space  required  by  the  different  letters  —  The 
Mental  Conception  —  Facts,  not  "tricks  of  the  trade." 

CHAPTER  XIII. 

INKS  AND  PAINTS.  —  Ready-to  use  paints  —  How  to  mix 
your  own  paints  —  Foundations  of  black  and  white  paints 

—  Formulas  for  numbers  of  useful  mixtures  —  Dry  and 
Moist  Colors  —  Waterproof  ink  —  Paints  for  oil  cloth  — 
White  ink. 

CHAPTER  XIV. 

PRIMARY  AND  SECONDARY  COLORS  — The  three  primary 
colors  —  How  to  produce  secondary  colors  —  Harmony 
of  Colors  —  Two  color  combinations  —  Three  color  com- 
binations—  How  to  mix  colors  —  Test  of  colors  and  their 
analysis. 


8  TABLE  OF  CONTENTS. 

CHAPTER  XV. 

BRONZE,  FLITTER,  SMALT,  ETC. — The  use  of  bronze,;flitter, 
smalt  and  flock  —  What  they  are  and  how  they  may  be 
applied  —  Should  be  used  with  judgment  —  The  use  of 
chalk  —  Easily  removed. 

CHAPTER  XVI. 

HINTS  FOR  THE  SHOW  CARD  WRITER.— The',  importance 
of  a  good  scrap  book  —  Uses  that  may  be  made  of  col- 
lected letters  and  pictures — Borders  and]  edge  lines' — 
Use  of  the  atomizer  —  The  drawing  board,  etc. 

CHAPTER  XVII: 

CATCH  PHRASES.  — A  collection  of  scores  of  ready  made 
legends  that  may  be  used  to  advantage  on  show-cards  — 
Scintillating  sentences  that  awaken  curiosity  and  stimulate 
trade. 

APPENDIX. 

Full  page  and  smaller  illustrations,  practical  work  that 
may  be  done  by  marking  and  shadingfpens>nd  brushes, 
with  explanations  and  directions. 


HOW  TO   MAKE   SHOW   CARDS. 


CHAPTER  I. 

GENIUS  NOT  REQUIRED. 

Multiplicity  of  books  on  subject —  All  different  from  this  — 
The  art  may  be  acquired  by  almost  anyone — The  author's 
experience  —  The  value  of  show  card  writing — Reason- 
able practice. 


;HE  temerity  attending  the  taking  up  of  the 
subject  of  Show  Card  Writing  with  the  idea 
of  presenting  it  in  a  clearer  and  more  prac- 
tical way,  may  call  for  explanations.  Books  and 
examples  of  artistic  skill,  there  are  galore,  denoting 
ability  in  execution  greatly  exceeding  my  own.  The 
majority  of  them  sail  away  into  a  realm  that  is  be- 
yond the  every  day  practical  use  of  the  small  mer- 
chant. Those  which  attempt  to  enter  this  domain 
fail  to  make  clear  the  fundamental  principles  and 
basic  facts  which  are  so  essential  an  aid  in  the  ready 
and  quick  construction  of  neat  and  simple  lettering 
to  meet  the  requirements  of  a  busy  merchant. 


10  HOW   TO   MAKE   SHOW   CARDS. 

My  own  practical  experience  along  the  iden- 
tical path  which  the  small  merchant  travels,  and  my 
visits  to  thousands  of  retail  stores  have  familiarized 
me  with  many  facts  that  lead  me  to  the  gap  which 
greater  ability,  or  lack  of  information  regarding 
requirements,  has  failed  to  close. 

Many  think  that  only  an  artist  can  produce 
commendable  results  in  card  writing.  Any  one 
who  once  masters  the  principles  upon  which  the 
letters,  figures  and  punctuations  are  formed  and 
becomes  acquainted  with  the  "  tricks  of  the  trade  " 
can  successfully  produce  card  signs  in  which  he  may 
well  take  pride. 

Quality  depends  upon  skill  in  acquiring  control 
of  pen  or  brush,  which  is  well  within  the  reach  of 
all  by  practice  and  patience,  and  also  upon  the  "  spac- 
ing "  and  "  laying  out."  A  card  poorly  balanced,  even 
if  well  lettered,  is  always  farther  from  satisfaction 
than  if  well  balanced  but  more  crudely  executed. 

The  retail  merchant  needs  no  argument  as  to 
the  value  of  show  card  writing  as  an  aid  in  promoting 
business,  and  is  greatly  interested  in  any  practical 
method  of  instruction,  within  reasonable  limits  of 
his  requirements. 

A  series  of  short  instructive  lessons,  sufficiently 
covering  the  subject,  to  enable  him  to  produce  com- 
mendable show  cards  without  an  expenditure  of  time 
greater  than  their  value,  cannot  however  prove  of 
much  value  to  him  unless  he  is  willing  to  devote  a 
little  time,  thought  and  study  to  the  subject. 

My  experience  has  been  along  the  same  busy 
path  that  all  active  retailers  travel,  and  I  know 


HOW  TO   MAKE   SHOW   CARDS.  11 

exactly  all  about  the  perplexities,  limitations  and 
interruptions  attending  the  making  of  store  signs. 

I  am  sure  there  are  only  two  real  reasons  for 
failure:  first,  lack  of  application  ^second,  submis- 
sion to  early  discouragement  over  first  attempts. 

So,  if  "your  wishbone  is  where  your  backbone 
should  be  "  I  would  advise  that  you  spend  neither 
money  nor  time  on  the  subject. 

GENIUS  NOT  REQUIRED. 

But  if  you  harbor  the  opinion  that  only  an  artist 
can  produce  satisfactory  results  that  would  meet 
your  requirements  or  that  card  writers  are  born  not 
made,  then  I  know  you  are  in  error,  as  my  own 
experience  furnishes  too  many  proofs  which  sub- 
stantiate my  words. 

While  it  does  not  require  a  gifted  nature  to 
acquire  the  art  of  making  neat  and  creditable  signs 
for  ordinary  purposes  of  the  retail  store,  it  does 
require  proper  and  somewhat  methodical  training, 
which  is  well  within  the  reach  of  anyone. 

The  simple  style  of  plain  lettering  like  the  Gothic 
letter  may  be  executed  almost  by  mechanical  means. 
They  are  most  generally  used  by  the  busy  merchant 
who  does  his  own  card  writing  and  no  other  alpha- 
bet produces  as  neat,  or  more  effective  cards. 

Once  the  student  has  acquired  a  practical  knowl- 
edge of  their  geometrical  construction  (which  will 
be  illustrated  further  along  in  our  subject)  he  will 
only  require  practical  experience  in  free  hand  draw- 
ing such  as  he  will  readily  attain  by  practice  while 
becoming  familiar  with  the  geometrical  features. 


12 


HOW   TO    MAKE   SHOW   CARDS. 


2  Q 

II 

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S    £ 


11 


HOW   TO    MAKE   SHOW   CARDS. 


13 


CHAPTER  II. 

FREE  HAND  WORK. 

Ease  with  which  skill  in  free  hand  work  may  be  acquired  — 
Methods  of  holding  tools  —  Why  professionals  say  "  It's 
dead  easy"  —  The  use  of  imagination  —  Guide  lines  soon 
discarded. 


'REE  hand  work  is  more  properly  defined  if 
we  should  designate  it  as  "  acquiring  control 
of  the  pen  or  brush."  One  is  surprised  at 
the  acquisition  of  this  free  hand  work,  if  he  only 
uses  occasional  odd  moments  for  practice  with  pen  or 
pencil,  for  which  later  the  brush  may  be  substituted. 
Nearly  every  sign  writer  has  his  own  individual 
method  of  proceeding  and  those  who  are  about  to 
take  up  the  subject,  have  acquired  their  own  way  of 
handling  a  pencil  or  pen,  therefore  special  instruc- 
tions or  illustrations  regarding  this  point  are  seldom 
given  but  slight  consideration.  It  will  be  found 
advisable  in  using  the  brush,  however,  to  hold  it  a 
trifle  more  upright  than  pen  or  pencil. 


14  HOW   TO    MAKE    SHOW   CARDS. 

Many  writers  in  working  with  the  brush,  especi- 
ally on  large  letters,  rest  the  brush  hand  over  the 
back  of  the  left  hand,  which  lies  partially  closed 
(palm  down)  on  the  table  or  drawing  board. 

This  gives  stability  to  the  stroke  and  by  a  slight 
rolling  movement  of  the  left  wrist  a  longer  and 
bolder  stroke  is  possible  or  a  lighter  stroke  more 
easily  controlled.  This  is  really  a  substitute  for  the 
mahl-stick  which  many  prefer. 
. 

"DEAD  EASY." 

The  itinerant  window  decorator  who  covers  plate 
glass  with  an  array  of  flourish,  flowers  and  fol-de-rol 
in  red,  yellow  and  blue,  you  dub  an  artist.  His 
execution  of  letter  and  ornament  excites  admiration. 

Have  you  never  succeeded  in  drawing  him  from 
his  shell  of  reticence  sufficiently  to  have  him  become 
confidential  and  communicative  ?  If  so,  he  has  told 
you  that  it  is  "  dead  easy  "  ;  that  you  have  only  to 
"get  wise"  to  the  important  "trick  of  the  trade." 
Should  he  happen  to  be  in  especially  good  humor, 
he  will  illustrate  in  a  few  minutes  with  a  pencil  the 
basic  principles  by  which  letters  are  formed,  so  that 
you  perceive  he  is  more  a  delineator  of  geometry, 
than  an  artist. 

His  ability  to  discard  guide  lines  except  such 
as  may  be  an  aid  to  correct  spacing  is  because  of 
skill  acquired  by  familiarity  with  these  basic  facts. 
You  can  acquire  a  commendable  and  satisfactory 
dexterity  as  well  as  he,  by  practice,  after  an  intelli- 
gent understanding  of  the  rules  and  a  study  of  their 
application. 


HOW   TO    MAKE    SHOW   CARDS.  15 

His  brain  has  absorbed  all  this  and  therefore 
when  he  starts  on  the  work  before  him  he  pictures 
to  a  certain  degree  the  size,  shape  and  construction 
of  the  necessary  letters.  This  picture  of  the  brain 
is  like  a  photograph  to  the  eye,  and  is  so  clear  in 
detail  that  the  hand  obeys.  Just  in  the  similar  way 
that  you,  when  you  are  seated  to  write,  do  not  give 
particular  thought  to  the  construction  of  your  let- 
ters, for  your  mind  is  concentrated  on  what  and  how 
you  will  say  that  which  you  intend.  The  expert 
sign  writer  has  little  use  for  guide  lines  except  those 
of  a  rough  sketchy  character  intended  to  secure 
proper  spacing  and  balance.  These  lines  they  sel- 
dom follow. 


ream 


16 


HOW  TO  MAKE  SHOW  CARDS. 


women;  combining'*  the 
useful  with  the  gift 
/eatiire 


AN   ATTRACTIVE   SHOW   CARD. 
(Courtesy  of  the  Signs  of  the  Times,  Cincinnati,  Ohio.) 


HOW   TO    MAKE   SHOW   CARDS. 


17 


HOW   TO    HOLD   MARKING   PEN. 

CHAPTER  III. 

NECESSARY  TOOLS. 

The  better  the  workman  the  fewer  tools  —  What  brushes  to 
buy  —  How  to  tell  a  good  brush  —  The  importance  of  tak- 
ing good  care  of  tools  — Brush  "  Don'ts"  —  Show  card 
paint — How  to  mix  paint  —  How  to  use  paint. 


OOD  work  requires  the  best  of  tools,  the 
cleverest  workman  generally  requiring  the 
fewest.  Purchase  only  what  are  absolutely 
needed.  Three  or  four  brushes  are  sufficient  for 
any  work  that  is  ordinarily  required  for  the  store 
and  No.  4,  No.  7,  No.  12  with  a  flat  brush  for  *' fill- 
ing in  "  is  a  convenient  outfit. 

In  purchasing  a  brush  observe  if  the  ferule  is 
well  filled  and  the  hair  securely  fastened.  It  should 
taper  to  a  fine  point  and  retain  the  point  without 
breaking  when  in  use.  A  good  test  is  to  moisten 
the  brush  and  while  wet  and  the  hair  holding  to- 
gether, twist  the  point  upon  the  thumb-nail,  making 


18  HOW  TO   MAKE   SHOW   CARDS. 

all  kinds  of  imaginary  circles  and  curves,  if  the  point 
splits  and  spreads  about  it  is  wise  to  make  a  new 
selection. 

A  good  brush  should  have  spring  and  solidity 
sufficient  not  to  droop  or  sag  when  filled  with  heavy 
paint.  If  it  possesses  these  qualities  you  will  have 
little  difficulty  in  getting  sharp  clean  edges  to  your 
lines. 

CARE  OF  BRUSHES. 

The  proper  care  of  brushes  is  of  much  import- 
ance and  unless  given  it  they  soon  become  useless. 
As  really  good  brushes  are  expensive,  it  will  pay  you 
to  consider  what  is  said  regarding  the  care  of  them. 

To  be  always  in  perfect  order  they  must  always 
be  cleaned  every  time  you  are  through  using  them 
and  do  not  under  any  consideration  allow  color  to 
dry  on  your  brush,  wash  it  out  in  water  and  (if  you 
are  using  water  color)  rinse  well  in  clean  water  and 
with  gentle  pressure  slide  the  thumb  and  forefinger 
toward  the  brush  point,  carefully  moulding  it  to  its 
proper  shape.  Clean  brushes  used  in  oil  with  tur- 
pentine. 

Our  itinerant  friend  (of  whom  I  have  spoken) 
has  the  highest  regard  and  bestows  the  greatest  care 
imaginable  on  his  brushes.  Almost  invariably  he 
has  a  "pet,"  for  which  he  cherishes  an  almost  pa. 
thetic  love. 

If  you  have  succeeded  as  well  as  I  have  many 
times  in  "  drawing  him  out,"  he  has  given  you  some 
"don'ts  "  that  it  will  pay  you  not  to  forget. 


HOW   TO    MAKE    SHOW   CARD  19 


THE   BRUSHES. 


BRUSH  DON'TS. 

Don't  allow  color  to  dry  on  the  brush. 

Don't  fail  to  clean  if  suddenly  called  from  your 
work. 

Don't  stand  it  on  end  or  upright,  lay  it  flat  when 
not  using  it. 

Don't  use  your  water-color  brushes  in. oil  color. 
It  will  ruin  it  for  water  color  afterwards. 

Don't  mix  paint  with  your  brush,  always  use  a 
thin-bladed  knife  or  a  stick  for  this  purpose. 

SHOW  CARD  PAINT. 

There  are  a  number  of  "  ready  to  use  "  products 
which  can  be  obtained  from  druggists  or  stationers 
which  may  be  preferred.  But  quite  as  satisfactory 
and  convenient  for  ordinary  store  work  are  moist  or 


20  HOW  TO   MAKE   SHOW   CARDS. 

dry  water  colors.  These  give  a  wide  range  of  va- 
riety, and  being  inexpensive,  one  can  afford  a  liberal 
assortment.  These  may  be  had  at  artists  supply 
houses  or  the  paint  dealer. 

How  TO  Mix  PAINT. 

If  you  select  moist  water  color  (in  tubes  is 
preferable),  squeeze  a  small  portion  on  to  a  clean 
piece  of  glass,  add  a  drop  or  two  of  water  and  a  very 
few  drops  of  mucilage  which  is  used  as  a  binder  and 
to  give  a  slight  gloss.  The  mucilage  should  be  pre- 
pared from  the  best  grade  of  gum  arabic  and  clean 
clear  lumps  (not  powdered)  should  be  used.  Now 
mix  well,  using  a  thin  knife  or  flat  stick.  Keep  the 
paint  pretty  thick  for  brush  work  and  use  care  in 
adding  the  mucilage,  as  too  much  prevents  an  easy 
flow  of  color  and  produces  a  ragged  edge  to  your 
letter.  Sometimes  a  little  glycerine  will  produce  a 
paint  that  flows  easily.  If  dry  water  color  is  used, 
work  it  into  a  soft  dough  with  water,  then  proceed. 

How  TO  USE  PAINT. 

It  requires  something  more  than  merely  dipping 
the  brush  before  using.  Your  brush  must  be  com- 
pletely charged  with  paint  so  that  the  center  is  as 
well  filled  with  color  as  the  outside  hair.  After 
dipping  into  the  paint  select  a  clear  portion  of  your 
glass  and  with  the  brush  make  various  strokes, 
drawing  the  brush  from  side  to  side,  rotating  it  by 
movement  of  the  fingers  and  drawing  it  towards 
you,  first  on  one  side  then  the  other.  Do  this 
frequently.  Test  by  a  few  light  strokes  and  remove 
superfluous  paint  before  making  letters. 


HOW   TO    MAKE   SHOW   CARDS.  21 


are 
looking  Jbr  a 


do. 


THE  DRAWING   BOARD. 


CHAPTER  IV. 

PRACTICE,  PRINCIPLES  AND 
PENCILS. 

Surprising  results  obtained  through  practice  —  Constructive 
principles  elucidated  by  monograms — Importance  of  draw- 
ing board  and  T  square  —  The  necessity  of- practicing 
curves,  parallel  and  oblique  lines  —  Pencil  outlining. 


PRACTICE. 

;HEN  show  card  writing  is  mentioned  and 
/w)  the  necessity  of  acquiring  a  degree  of 
^s  skill  in  free  hand  work  is  considered, 
many  say  :  "  Wish  I  could  do  it,  but  it  requires  an 
artist  to  do  that,"  forgetting  that  we  all  possess 
about  an  average  ability  as  an  usual  condition,  and 
that  what  looks  very  difficult  and  unattainable,  is 
not  the  result  of  unusual  natural  qualities  but  of 
systematic  study  and  analysis  of  fundamental  facts, 
combined  with  practice.  It  is  equally  true  that  any 


22  HOW   TO    MAKE    SHOW   CARDS. 

one  who  can  learn  to  write  can  learn  how  to  draw 
or  paint  letters  for  the  show  card. 

CONSTRUCTIVE  PRINCIPLES. 

By  a  series  of  geometrical  monograms  the  defi- 
nite relations  which  all  letters  of  an  alphabet  bear  to 
each  other  will  be  shown  and  in  detail  the  mechanical 
method  of  drawing  them. 

The  student  who  will  follow  these  monograms 
with  reasonable  study  of  each  letter,  using  rule, 
compass  and  drawing  board  at  first,  will  find  that 
though  mechanical  assistance  is  a  great  convenience 
in  elementary  efforts  after  he  has  drawn  a  complete 
alphabet  as  detailed  of  each  letter,  character  by 
character,  he  has  acquired  a  readiness  of  forming 
letters  with  more  accuracy  than  would  be  possible 
to  attain  by  rambling  copying  or  a  desultory  sketch- 
book of  curves,  parallel  and  oblique  lines. 

DRAWING  BOARD,  ETC. 

It  is  not  the  intention  to  convey  the  impression 
that  practice  in  copying  and  sketching  are  not  very 
essential,  but  for  the  purpose  within  the  limits  which 
I  am  covering,  more  creditable  work  may  be  accom- 
plished if  the  suggestions  in  connection  with  the 
geometry  of  letters  be  understood,  for  these  if 
applied  to  practice  in  free  hand  assure  greater  accu- 
racy and  a  quicker  acquisition  of  the  art.  Speed 
acquired  by  bold  careless  strokes  at  the  expense  of 
accuracy,  if  once  established  is  usually  difficult  to 
correct. 

It  will  be  found  to  be  of  great  convenience  if 
a  good  sized  drawing  board  suitable  for  the  largest 


HOW   TO   MAKE   SHOW   CARDS.  23 

card  to  be  used,  is  procured,  together  with  half  a 
dozen  thumb  tacks  and  a  large  wooden  T  square. 

The  board  has  many  advantages  over  a  table  or 
desk,  as  it  can  be  placed  at  various  angles  or  removed 
to  different  locations  ;  uncompleted  work  on  it  when 
put  aside  hastily  is  better  protected  from  damage, 
and  will  be  found  in  the  same  position  for  completion 
at  any  time. 

Curves,  parallel  and  oblique  lines  are  the  few 
simple  important  strokes  that  should  be  practised 
until  they  have  been  mastered.  There  are  odd  mo- 
ments when  these  exercises  may  be  practised  with 
pencil  or  pen  by  any  one  who  has  a  laudable  ambition 
to  succeed. 

Learn  to  draw  with  a  careful  but  fearless  stroke, 
for  it  is  better  that  an  effort  be  made  to  acquire 
speed  gradually  and  easily  with  a  fair  degree  of 
exactness  than  by  attempting  to  secure  it  through 
a  strained  effort. 

The  T  square  is  a  very  convenient  aid  in  spacing 
and  for  denoting  the  exact  position  of  the  various 
letters  before  they  are  indicated  by  sketching 

It  should  be  understood  that  after  the  principle 
of  the  monograms  has  been  understood,  that  in 
general  work  it  is  not  necessary  to  draw  the  lines  of 
the  rectangle,  but  simply  denote  their  four  corners 
by  a  dot,  or  better,  a  short,  slight  pencil  stroke 
crossing  the  horizontal  lines.  This  may  be  observed 
in  the  sign  awaiting  the  "cleaning  up"  which  is 
attached  to  the  drawing  board. 

PENCIL  OUTLINING. 

The  pencil  being  the  first  tool,  the  student  will 


24  HOW  TO   MAKE   SHOW   CARDS. 

use  should  be  a  No.  2,  or  HB,  and  properly  pointed. 
Provide  a  few  sheets  of  white  card  board  having  a 
soft  surface  (avoid  a  glazed  card).  A  heavy  manila 
paper  is  very  satisfactory. 

Let  the  perpendicular,  oblique,  right  and  left 
curve  stroke  be  always  drawn  from  the  top,  down. 
Horizontal  strokes  from  left  to  right.  The  arrows 
will  indicate  the  usual  method  employed  by  modern 
card  writers. 

These  practical  lines  or  strokes,  as  shown  in 
the  plate  are  really  the  essential  movements  neces- 
sary to  acquire  control  of  brush  or  pen  and  when 
once  the  ability  to  execute  them,  even  fairly  well,  is 
acquired,  there  is  little  difficulty  experienced  in  the 
execution  of  any  letter  which  one  may  please  to 
select ;  providing  a  knowledge  of  the  proper  appli- 
cation of  the  strokes,  of  mechanical  constructions 
and  the  basic  principle  of  all  letter  building  is  well 
understood.  (See  plate  page  26.) 


A   SHADING   PEN   EXERCISE. 


HOW  TO  MAKE  SHOW  CARDS.  25 


CHAPTER  V. 

PRACTISE  STROKES. 

How  to  outline  letters  with  light  pencil  strokes — Table  show- 
ing various  strokes  composing  letters  —  Use  of  the  round 
writing  pens — Perfect  circles  not  necessary — How  to 
make  them  — A  "secret "of  the  art. 

AVING  ruled  a  light  pencil  line  denoting 
height,  which  should  be  one  and  a  half 
inches,  the  height  of  original  design  from 
which  this  plate  was  made,  which  is  a  convenient 
size  for  practice  strokes,  the  intended  strokes  may 
at  first  be  lightly  indicated  in  pencil  (see  dotted  lines) 
though  this  must  be  eventually  discarded  and  a  fa- 
cility of  executing  them  without  guide  lines  acquired. 
The  Soennecken  pen  No.  2.  (see  page  30)  may 
first  be  used,  as  this  enables  one  to  control  the  direc- 
tion of  stroke  better,  its  use  permitting  more  bold- 
ness and  establishing  confidence. 
-  Then  try  the  No.  4  brush,  making  all  the  strokes 


26 


HOW  TO   MAKE   SHOW   CARDS. 


uZ     i 


W    £ 

Bi 


HOW  TO   MAKE   SHOW  CARDS.  27 

as  with  the  pen  and  always  in  the  direction  of  the 
arrows.  Figures  i  to  6  (see  page  26)  need  no  further 
explanation.  Figure  7.  The  stroke  left  to  right,  it 
will  be  noted,  is  the  middle  part  of  S,  and  the  right 
to  left  stroke  the  center  of  Figure  2.  These  are 
difficult  strokes  to  acquire,  but  when  they  can  be  suc- 
cessfully handled,  it  will  be  found  to  be  much  easier 
to  execute  the  strokes  required  for  combined  per- 
pendicular and  curved  letters  or  for  letters  like  O, 
G,  etc.  Figures  8  and  9  are  designed  more  espe- 
cially to  secure  brush  control.  In  attempting  them 
hold  the  brush  nearly  upright  and  have  it  well 
charged  with  color. 

The  strokes  indicated  should  be  made  in  order 
of  i,  2,  3,  the  first  stopping  at  A.  Without  chang- 
ing the  direction  of  the  brush,  but  simply  raising  it 
just  enough  to  clear  the  paper,  swing  it  to  B  and 
make  the  stroke  where  the  parts  connect.  Pass  the 
brush  beyond  the  junction  in  order  to  insure  clean 
lines.  These  two  figures  should  be  made  with  one 
stroke,  and  when  skill  has  been  acquired  this  will 
not  be  found  difficult,  and  will  be  found  an  excellent 
test  of  control. 

Figure  10  can  hardly  be  drawn  a  perfect  circle. 
When  perfection  is  necessary  the  compass  is  always 
used.  Considerable  skill  is  required  to  make  a  fairly 
good  one,  but  repeated  trials  are  surprisingly  satis- 
factory. First  attempts  with  the  pencil  are  best, 
and  when  the  use  of  the  brush  is  taken  up  it  is  often 
that  a  slight  retouching  brings  it  into  symmetrical 
line. 

A  good  way  to  do  it  is  to  draw  a  small  circle, 


28  HOW   TO   MAKE   SHOW   CARDS. 

say  one  inch  diameter  and  then  surrounding  it 
with  another,  one-fourth  inch  larger, and  so  on  until 
four  or  five  have  been  made.  The  circle  ought  to 
be  made  in  two  strokes,  swinging  the  brush  from 
A  to  B  (No.  I  stroke)  and  completing  with  No.  2 
stroke.  It  is  good  "  control  f '  practice  to  try  and 
make  a  perfect  circle  in  one  stroke.  This  may  not 
for  some  time  produce  very  pleasing  results,  but  it 
will  give  the  hand  and  wrist  a  movement  that  lends 
ease  and  confidence  to  the  other  easier  and  more 
frequently  used  strokes.  Hand  12  are  readily  seen 
to  be  important  strokes  when  combined. 

It  is  a  secret  of  the  art  to  learn  to  skillfully  raise 
the  brush  from  the  stroke  and  to  adroitly  replace  it ; 
this  is  an  important  factor  in  all  practice  work  and 
should  be  given  especially  careful  attention. 


ABCDEF0MIJICL 
MNOPQR5TUVW 


j  (c  I  m  n  opqrs^uv  woryz 


AN   EASILY   MADE   ALPHABET. 


HOW   TO    MAKE   SHOW   CARDS. 


29 


CHAPTER   VI. 
GEOMETRY    OF    LETTERS. 

Relation  of  capital  letters  to  each  other — All  except  three 
drawn  in  same  sized  rectangle — Letters  grouped  into  five 
classes — Correspondence  courses — Use  of  monograms — 
I,  L,  F,  E,  H,  T,  V,  A  and  Z  analyzed. 


ANY  fail  to  observe  that  capital  letters 
have  important  structural  relations  with 
each  other,  except  to  note  that  they  are  of 
the  same  height.  Beside  height,  however,  they  bear 
definite  proportious  throughout  which  must  be  care- 
fully understood  in  order  to  attain  symmetry  and 
artistic  appearance.  Excepting  M,  I  and  W,  all 
letters  of  an  alphabet  are  drawn  within  the  lines  of 
practically  the  same  sized  rectangle,  the  sides  of 
which  touch  the  limits  of  the  letters. 

Letters  may  also  be  grouped  into  five  divisions 
and  a  study  of  them  by  groups  (which  will  be  con- 


30 


HOW   TO    MAKE    SHOW   CARDS. 


HOW   TO    MAKE    SHOW   CARDS.  31 

sidered  later)  is  valuable  as  establishing  a  clear  con- 
ception of  the  exceedingly  small  number  of  strokes 
used  in  constructing  them. 

While  very  neat  and  attractive  signs  are  pro- 
duced by  mechanical  means  with  rule  and  compass, 
do  not  expect  to  become  an  expert  card  writer  by 
confining  your  skill  to  this  method  alone.' 

CORRESPONDENCE  COURSES. 

By  constructing  the  letters  separately,  with  care 
and  accuracy  according  to  the  lines  of  the  mono- 
grams as  detailed  in  the  text,  a  knowledge  of  letter 
construction  and  its  principles  will  be  obtained  that 
for  all  practical  purposes  compares  favorably  with 
any  of  the  courses  by  correspondence. 

There  is  no  desire  to  depreciate  the  merit  nor 
excellence  of  the  school  course,  if  time  and  money 
has  not  to  be  considered,  or  if  there  is  a  desire  to 
enter  a  larger  field  than  the  every  day  needs  of  the 
small  merchant.  Such  courses  cost  from  $25  to 
$75,  extend  over  a  period  of  time,  demand  intensive 
application,  almost  constant  practice  and  cover  a 
field  of  exercises  beyond  the  needs  of  practical  store 
work. 

These  facts  a  conservative,  busy  merchant  will 
usually  consider.  First,  for  purposes  of  the  majority 
of  retail  stores  such  an  expense  is  prohibitive. 

Second,  the  amount  of  time  required  to  cover 
an  extensive  field  frequently  becomes  tiresome  and 
it  is  given  up.  Third,  from  among  the  mass  of  much 
irrelevant  matter  he  has  to  "dig  out"  the  funda- 
mental and  practical.  Fourth,  if  he  once  understands 


HOW  TO   MAKE   SHOW   CARDS. 


MONOGRAM    NO.   I. 

(Showing  how  the  letters  I,  L,  F,  E,  H,  T,  V,  A  and  Z  may  be 
correctly  drawn  ) 


HOW  TO  MAKE  SHOW  CARDS.  33 

accuracy  and  how  to  reach  it,  which  is  embodied  in 
these  monograms,  he  has  the  means  and  the  knowl- 
edge of  correcting  his  own  efforts  as  critically  as 
could  be  done  by  an  "  expert." 

USE  OF  THE  MONOGRAMS. 

It  is  not  essential  that  the  student  should  draw 
the  letters  all  in  a  rectangle  of  the  same  dimension, 
as  shown  in  the  monogram  ;  he  will  get  a  clearer 
conception  of  the  subject  by  drawing  each  letter  in 
a  separate  rectangle.  If  these  are  made  on  heavy 
manila  paper  and  the  strokes  numbered  they  will  be 
found  a  convenient  reference  at  some  period  of  doubt. 
The  monograms  are  for  the  purpose  of  saving  space 
and  to  show  the  close  relative  relation  letters  bear 
to  each  other.  And  for  the  purpose  of  imparting 
essential  knowledge,  but  not  intended  to  replace 
free  hand  brush  writing.  They  are  what  addition, 
subtraction,  multiplication  and  division  are  to  mathe- 
matics. 

Two  parallel  lines  denoting  height  of  the  letters 
are  the  only  guide  lines  that  should  be  used  as  soon 
as  the  eye  has  become  trained. 

When  this  point  is  reached  it  is  not  difficult  to 
write  alphabets  of  other  than  Gothic  letters,  and  this 
principle  of  the  monogram  will  be  found  a  great  aid 
in  constructing  odd  or  ornamental  letters. 

To  draw  the  monogram  No.  I,  or  to  construct 
any  single  letter  accurately,  let  the  student  obtain 
proper  card  board  or  paper,  a  No.  2  pencil,  rule  and 
compass,  and  having  decided  on  the  height  of  the 
letter  or  monogram,  let  the  limb  width  be  one-sixth 


54  HOW  TO   MAKE   SHOW   CARDS 


-to 
on 


Wisdom 

\  suggests  a  year's 

j  subscription  to 

Signs  of  the  Times. 


SUGGESTION   FOR   A   SHOW   CARD. 


HOW   TO   MAKE   SHOW   CARDS.  35 

of  its  height.  If  we  select  3  or  6  inches  as  our  height 
the  limb  width  would  be  %  or  i  inch,  respectively. 

Taking  each  letter  in  the  order  of  simplicity, 
begin  with 

I.  It  is  merely  a  rectangular  character  whose 
height  and  width  determine  that  of  all  the  others. 

Suppose  we  select  as  height,  6  inches,  our  limb 
width  (one-sixth)  would  be  I  inch.  With  rule  and 
pencil  construct  the  rectangle.  As  a  good  propor- 
tion in  width  is  ^  of  the  height,  we  find  we  need  a 
rectangle  6  inches  by  4%  inches.  Now  construct 
the  I. 

L.  Is  a  left  hand  upright  joined  to  a  horizontal 
limb  at  the  bottom  running  clear  across  the  rectangle. 

F.  Has  the  same  limb  as  L,  only  it  is  at  t|ie 
top ;  it  also  has  a  cross-bar  between  the  top  and 
bottom.  This  center  cross-bar  is  never  as  long  as 
the  top  one,  being  a  limb  width  less  in  length.  While 
this  cross-bar  in  block  letters  is  drawn  exactly  half 
way  between  top  and  bottom  dotted  lines  13,  14,  15, 
16,  modern  card  writers  more  frequently  place  it 
one-fourth  of  a  limb  width  above  the  exact  center. 

E  is  only  F  with  the  lower  limb  of  L  added. 

H  is  a  right  and  left  upright  (I)  with  the  cross 
limb  connection. 

It  will  be  noted  that  the  cross-bars  of  F,  E  and 
H  are  always  the  same  height. 

T  is  an  I  with  the  top  bar  of  F  added.  The 
cross-bar  of  T  in  practice  is  usually  made  a  little 
wider  than  that  of  the  other  letters,  as  T  has  a  ten- 
dency to  look  "squatty  "  and  not  wide  enough.  H 
has  the  tendency  to  appear  too  wide  and  is  often 


36  HOW  TO 'MAKE   SHOW   CARDS. 

made  narrower  to  counteract  this  peculiarity.  The 
lower  limb  of  L  is  also  frequently  slightly  shortened 
to  counteract  an  appearance  of  bad  spacing. 

There  are  a  few  deviations  from  hard  and  fast 
rules,  scarcely  noticeable  to  the  uninitiated,  which 
make  up  the  bulk  of  what  may  be  termed  the  "  tricks 
of  the  trade."  For  the  present  they  may  be  dis- 
regarded. 

V  has  two  slanting  limbs  ;  notice  that  the  limb 
width  is  measured  at  A-B  and  C-D  at  right  angles 
to  the  length  and  not  at  1-2.  To  form  V  find  3,  which 
is  the  center  of  the  bottom  line,  and  from  3  mark  4, 
5,  which  are  equal  distant  from  3,  three-fourths  of 
limb  width.  From  4  draw  the  lines  4-6,  and  from  5 
draw  line  5-1.  Now  measure  limb  width  at  A,  B 
and  C,  D  at  right  angles  to  1-5  and  draw  2-8,  also 
at  the  left  repeat  the  operation  and  draw  the  line 
7-8  to  meet  at  8. 

A  is  an  inverted  V  ;  the  same  rules  apply  to  its 
construction";  it  also  has  a  cross-bar  added,  the  bar 
being  drawn  so  that  its  center  line  (see  dotted  line 
9,  10)  is  one-third  the  height  of  letter  from  the  base. 
A  novice  is  apt  to  place  the  bar  of  A  at  the  center 
or  at  least  too  high.  When  placed  too  high  the 
work  of  an  amateur  is  quite  evident. 

Z  is  the  top  and  lower  cross-bars  of  E  connected 
by  a  slanting  limb  from  top  right  to  lower  left  c<  >rners. 
To  place  the  slanting  bar,  find  the  center  E  by  clotted 
lines  n,  12  and  its  corresponding  cross  lines.  Set 
the  compass  at  half  limb  width  and  draw  the  circle 
as  noted  by  dotted  line,  then  draw  a  line  from  u 
just  Touching  the  outside  of  circle  and  passing  on 


HOW    TO    MAKE   SHOW   CARDS.  37 

to  the  lower  limb  of  Z  ;  from  12  draw  a  line  touch- 
ing the  circle  to  the  upper  bar.  The  mistake  is 
sometimes  made  of  drawing  the  slant  from  left  to 
right  instead  of  right  to  left. 

Looking  at  the  monogram  it  stems  a  very  diffi- 
cult and  intricate  task.  But  as  the  student  lays  down 
one  line  after  another,  letter  by  letter,  as  instructed, 
he  is  surprised  at  the  simplicity  of  it  all  and  will 
find  himself  possessed  of  knowledge  he  could  have 
acquired  in  no  other  way  and  a  confidence  that  leads 
him  on  to  become  a  master  of  letter  construction. 

If  these  same  rules  are  applied  to  separate  spaces 
instead  of  in  monogram,  we  have  words  as  a  result. 


MARKING  PEN    ALPHABET. 


38  HOW  TO   MAKE   SHOW   CARDS. 


8  2 


MONOGRAM   NO.   2. 
(Showing  how  the  letters  X,  V,  N  and  K  may  be  correctly  drawn.) 


HOW  TO    MAKE   SHOW   CARDS. 


A    SIGN    MADE   WITH    ROUND   WRITING   PEN. 

CHAPTER  VII. 

GEOMETRY  OF  LETTERS, 

CONTINUED. 

Analysis  by  monogram  of  the  letters  X,  Y,  N  and  K  —  The 
rounded  letters  —  Peculiarities  of  O,  C,  G,  Q,  P,  B,  D,  J, 
U,  R,  S,  M  and  W  —  The  characteristics  of  punctuation 
points  and  how  to  make  them. 


IS  made  by  finding  the  center  D,  which  is 
the  point  where  the  lines  i,  4  and  2,  3f 
cross.  With  the  compass  draw  the  circle 
shown,  whose  diameter  is  of  limb  width ;  this,  of 
course,  requires  the  points  of  compass  to  be  half 
limb  width  apart.  Place  the  rule  to  pass  through 
the  corner  of  the  rectangle  at  i,  move  it  to  just 
touch  the  circle,  then  draw  the  line  i,  5.  See 
Monogram  No.  2,  page  38.) 

Complete  the  other  three  lines  in  the  same 
manner  as  for  K,  drawing  the  lines  from  the  corners 
2,  3,  4  to  touch  the  circle  and  pass  to  the  limits  of 
the  top  and  bottom  lines  at  6,  7,  8. 

Y  is  the  upper  half  of  X  and  the  lower  half  of  I. 

N  cuts  all  sorts  of  antics  with  a  beginner.    Often 

he  makes  the  mistake  of  drawing  the  slanting  limb 


40 


HOW   TO    MAKE   SHOW   CARDS. 


a. 


lor 


MONOGRAM   NO.  3. 
(Showing  how  to  draw  the  letters  O,  C,  G,  Q,  P,  B,  D,  J,  U,  R  and  S.) 


HOW  TO   MAKE    SHOW   CARDS.  41 

from  top  right  to  bottom  left  and  seldom  does  he 
place  its  connecting  angles  at  the  correct  point.  If 
he  will  place  the  proper  lines  a  few  times  from 
memory,  and  acquires  the  ability  to  do  so,  he  need 
never  fail  in  future  free  hand  work.  To  draw  N 
after  placing  the  two  uprights  simply  place  the 
proper  limb  of  X  for  which  instruction  has  been 
given. 

K  make  the  upright,  then  draw  the  line  2,  3  to 
stop  at  G  and  a  line  parallel  to  it  a  limb  width  apart 
and  towards  the  upper  limit  of  the  rectangle.  It  is 
completed  by  adding  the  lower  right  half  of  X. 
Remember  the  lower  limb  of  K  does  not  join  the 
upper,  at  a  junction  with  the  upright.  The  lower 
slant  is  sometimes  lengthened  slightly  or  the  upper 
shortened  to  prevent  an  appearance  of  being  top- 
heavy. 

THE  ROUNDK.D  LKTTERS. 

The  rounded  letters  take  the  student  into  a 
field  of  curved  lines,  and  much  care  should  be  given 
to  instructions  governing  their  construction. 

.  First,  lay  out  the  same  sized  rectangle  as  pre- 
viously and  place  the  dotted  lines  5,  6,  7,  8  and  9, 
10,  u,  12.  (See  Monogram  No.  3,  pnge  40) 

These  lines  are  drawn  at  a  distance  of  one-fourth 
of  letter  height  added  to  a  fourth  of  limb  width  which 
in  our  6-inch  rectangle  would  be  i^  inches  added 
to  y±  inch  ;  or  i%  inches,  the  distance  each  line  is 
from  top,  bottom  and  each  side  respectively. 

From  the  points  2,  4,  draw  quarter  circles  to 
the  right  and  from  i,  3,  draw  quarter  circles  to  th 


42  HOW  TO  MAKE  SHOW  CARDS. 

left.  The  radius  of  the  quarter  circles  is  the  same 
as  the  distance  of  the  dotted  lines  from  each  side. 
Then  draw  four  other  quarter  circles  whose  radius 
is  limb  width  less,  from  the  same  points. 

O  is  the  middle  of  the  left  and  right  uprights 
of  H  and  the  middle  parts  of  the  top  and  bottom 
cross-bar  of  E. 

C  is  the  same  as  O,  only  the  middle  of  one  of 
H's  uprights  is  not  drawn,  the  ends  being  closed  a 
limb  width  above  and  below  the  center  dotted  line 
A,  B,  as  shown  at  C  and  D. 

G  is  like  C  with  the  addition  of  the  bottom 
corner  of  the  right  upright  of  H  added. 

Q  is  O  with  the  end  of  A's  slanting  limb  added. 
The  A  limb  of  Q  is  usually  given  a  slight  twist  to 
the  right  and  generally  a  bit  lengthened. 

P  is  the  left  upright  limb  and  portions  of  top 
and  middle  cross-bars.  The  parts  of  cross-bars  are 
placed  after  the  curved  lines  have  been  drawn,  the 
curves  being  drawn  around  the  center  at  2. 

B  is  P  with  a  second  curved  portion  below  the 
top  one.  It  is  more  usual  in  practice  (free  hand)  to 
make  the  top  portion  of  B  slightly  smaller  than  the 
lower  ;  this  relieves  the  letter  of  a  "  set  "  and  top- 
heavy  appearance. 

D  is  B  without  the  middle  bar  but  having  the 
middle  of  the  H  upright. 

J  is  the  lower  curve  of  O  having  the  left  end 
closed  at  E  and  joined  to  right  upright  of  H. 

U  is  J  without  a  closed  left  quarter  circle  which 
is  joined  to  left  upright  of  H. 

R  is  P  with  the  lower  slant  of  A  added.     This 


HOW  TO    MAKE   SHOW   CARDS.  43 

lower  limb  looks  best  straight  and  it  is  easier  to  so 
construct  it. 

In  attempting  to  make  it  conform  to  B's  lower 
curve  there  is  apt  to  be  difficulty  in  making  it  look 
well,  especially  in  a  block  letter. 

S  is  the  stumbling  block  of  most  card  writers 
and  the  hardest  letter  to  form.  Care  should  be 
given  to  its  peculiar  component  parts,  when  once 
mastered  and  understood  it  is  easily  constructed. 

Its  parts  consist  of  the  top  of  O,  the  lower  part 
of  J  and  two  quarter  circles  drawn  around  the  cen- 
ters i  and  4  joined  to  the  middle  part  of  H's  cross- 
bar. The  top  curved  part  of  S  is  usually  drawn 
a  trifle  smaller  than  the  lower  curve. 

M  and  W  are  drawn  in  wider  rectangles  than 
the  other  letters.  W  being  one-third  wider  than  A 
or  B  and  M  one-ninth  wider  than  A  or  B,  so  we 
have  to  increase  our  4^  inch  rectangle  y^t  making 
it  6  inches  in  width  for  W  and  5  inches  for  M.  (See 
Monogram  No.  4,  page  44.) 

To  make  M  within  the  6-inch  rectangle  place 
the  uprights  half  a  limb  width  inside,  measuring 
from  the  outside  lines  at  right  and  left.  It  will  be 
noted  that  only  the  upper  right  and  left  limbs  of 
W  are  wider  than  those  of  M. 

M  is  formed  by  drawing  the  uprights  and  finding 
I,  the  middle  point  of  the  bottom  of  the  rectangle, 
on  each  side  of  which  mark  2,  3,  so  that  the  space 
between  2,  3  is  limb  width.  Draw  a  line  from  3 
towards  4  but  only  as  far  as  5.  (5  is  half  letter 
height.)  Then  draw  2  towards  6  as  far  only  as  7. 
Draw  a  line  8,  9,  parallel  to  3,  4  limb  width  distant, 


44 


HOW   TO    MAKE   SHOW   CARDS. 


/0 


23        3         I        2        /<? 
MONOGRAM   NO.   4. 
(Showing  how  to  draw  M  and  W.) 


HOW   TO    MAKE    SHOW   CARDS.  45 

the  measurement  being  at  right  angles  as  for  V  ; 
also  a  line  parallel  to  2,  6,  from  8  to  10 ;  the  rule 
will  pass  through  the  points  2  and  3  respectively. 

W  is  made  by  finding  n,  one  quarter  letter 
from  right  bottom  corner,  mark  off  half  a  limb  width 
to  right  (12)  and  draw  12,  13,  to  top  right  hand 
corner.  Draw  left  and  side  line  14,  15  in  the  same 
way.  Find  16  the  middle  point  of  top  of  the  rec- 
tangle, mark  17  half  a  limb  width  to  right  16.  From 
17  towards  12  (that  is,  the  rule  will  pass  through 
12),  draw  a  line  as  far  as  18  only.  At  limb  width 
distance  and  parallel  to  it,  draw  19,  20. 

Then  draw  the  line  21  towards  14  to  stop  at 
22  ;  the  line  22,  24  is  parallel  to  14,.  15  and  in  the 
direction  of  23 

THE  PUNCTUATION  POINTS. 

The  period  is  a  square  ;  limb  wide. 

The  comma  is  a  period  with  a  diagonal  half  of 
a  period  attached.  The. diagonal  part  is  below  the 
line. 

The  colon  is  two  periods  one  above  the  other, 
half  limb  width  apart. 

The  semicolon  is  a  period  and  a  comma  below  it. 

The  apostrophe  is  a  comma,  its  upper  edge  is 
placed  on  a  line  even  with  the  top  of  the  letters. 
The  same  position  is  occupied  by  quotation  marks 
to  ihe  left  of  the  words  which  are  commas  reversed. 

The  exclamation  is  a  period  separated  by  half 
a  limb  width  from  part  of  an  upright  drawn  above  it. 

The  hyphen  is  the  cr<  >ss-bar  of  H. 


46 


HOW  TO   MAKE   SHOW  CARDS. 


MONOGRAM   NO.   5. 

(Shu\vir.g  the  drawing  and  Relative  Points  of  the  Arabic  Nunv  rals.) 


HOW  TO  MAKE  SHOW  CARDS.  47 


IfUfeACH 


MADE   WITH    ROUND   WRITING   PEN. 

CHAPTER  VIII. 

GEOMETRY  OF  LETTERS. 

CONTINUED. 

The  peculiarities  of  numerals  —  Easy  to  make  with  practice 
—  The  ten  digits  analyzed  —  The  ampersand  the  most  dif- 
ficult character  —  Just  how  to  make  it  —  How  the  expert 
obtains  pleasing  results. 


numerals  do  not  have  such  definite  pro- 
portions as  block  letters,  but  the  student 
having  acquired  a  knowledge  of  hard  and 
fast  rules  of  geometrical  construction,  can  from  his 
free  hand  practice  and  experience  appreciate  and 
execute  the  slight  necessary  deviation  needed,  with- 
out difficulty.  The  same  rules  apply  to  drawing 
naught  and  eight  as  to  the  letters  O  and  S. 

One  is  represented  by  i.  It  usually  has  a  ker- 
nel portion  at  its  upper  left  part,  i,  2,  3,  4,  5  give 
its  outline.  (See  Monogram  No.  5,  page  46). 

Two  is  the  upper  part  of  3  and  having  the  lower 
bar  of  L.  It's  central  part  is  almost  wholly  a  straight 
line  although  this  line  is  usually  given  a  slight  grace- 
ful curve  in  thin  or  elongated  figures.  The  straight 
lines  and  connecting  points  are  plainly  shown  and 
may  be  easily  placed. 


48 


HOW  TO    MAKE   SHOW   CARDS. 


HOW   TO    MAKE   SHOW   CARDS.  49 

Three  is  the  top  and  bottom  of  8  with  the  cross- 
bar of  H.  This  cross-bar  is  drawn  a  trifle  longer 
to  the  left,  before  it  is  closed  at  the  line  9,  10. 

Four  is  a  right  upright  with  slanting  limb  and 
cross-bar  added.  To  place  the  slanting  limb  find 
the  centre  of  its  rectangle  as  shown  by  dotted  lines, 
draw  the  circle  (as  shown)  and  proceed  as  for  the 
slants  of  X  and  Z.  The  cross  limb  of  4  is  raised 
one-fourth  letter  height  less  half  limb  width,  above 
the  bottom  line.  The  short  projection  to  the  right 
is  half  the  distance  from  cross-bar  to  the  base  line. 
So  this  figure  is  that  much  wider  than  the  others. 

The  top  of  5  is  the  cross-bar  of  T.  The  upper 
half  of  the  curved  part  of  5  deviates  from  the  lines 
of  the  other  figures,  joining  the  descending  left  hand 
upright  half  a  limb  width  higher  than  the  curve  of 
8.  To  draw  the  proper  curve  of  5  mark  a  point 
one-third  letter  high  at  center  of  the  rectangle  (A). 
The  radius  or  distance  of  compass  points  should  be 
the  distance  from  A  to  the  right  outside  limit.  Draw 
the  outside  quarter  circle ;  the  radius  of  the  inner 
circle  is  limb  width  less  than  the  outer  one.  The 
cross-bar  connecting  lines  are  then  drawn  to  the 
left  connecting  with  the  descending  limb. 

Six  is  the  lower  part  of  8  with  upper  part  of  8 
cut  off  and  closed  at  the  right  upper  end,  at  C,  D. 

Seven  takes  up  the  whole  of  T's  cross-bar  ex- 
cept some  writers  prefer  to  bevel  the  lower  right 
end  of  the  cross-bar  the  slant  being  drawn  slightly 
to  the  left.  To  find  the  leaning  limb  of  7  find  the 
center  of  the  rectangle  in  which  it  is  contained, 
by  means  of  the  dotted  lines  4,  8  and  6,  7,  draw 


50 


HOW   TO    MAKE    SHOW   CARDS. 


MONOGRAM    NO.  6. 

(Ampersand.    Showing  a  sure,  correct  method  of  drawing  &.) 


HOW  TO    MAKE   SHOW   CARD         ,         51 

the  wide  circle  and  proceed  as  shown  for  X  and  Z. 

Eight  is  the  foundation  of  3,  6  and  9  and  is 
drawn  in  the  same  way  as  for  letter  S. 

Nine  is  an  inverted  6. 

Naught  is  a  letter  O  and  its  outline  is  readily 
placed. 

To  be  brief  it  will  be  observed  that  2,  3,  6,  8,  9 
and  o  have  more  or  less  the  same  lines.  I,  4,  5  and 
7  are  odd.  It  is  these  odd  features,  if  one  does  not 
know  how  to  place  them  properly,  which  is  respon- 
sible for  much  of  the  feeling  of  disappointment  and 
dissatisfaction. 

THE  AMPERSAND. 

The  ampersand,  &,  is  perhaps  the  most  difficult 
of  all  characters  to  draw  and  seldom  is  its  delineation 
by  mechanical  means  given.  Many  writers  on  the 
art  of  lettering  seemingly  avoid  giving  it  attention  by 
saying :  "  It  is  nearly  a  figure  8  and  little  difficulty 
is  experienced  in  adding  the  lines  of  alteration." 

I  have  often  attempted  the  placing  of  the  devi- 
ating line  with  many  disappointing  results.  The 
"  copy  system  "  of  show  card  writing  may  have  its 
advantages  but  correct  information  detailing  exactly 
"how  to  do  it"  is  of.  great  value  as  an  aid  to  free 
hand  efforts.  The  knowledge  how  is  what  directs 
the  hand  to  do. 

The  special  plate  devoted  to  this  evasive  hiero- 
glyph is  especially  interesting  and  the  principles 
of  its  construction  easily  perceived  and  readily 
remembered. 

To  draw  it  construct  the  rectangle  and  lay  out 
the  dotted  cross  lines  as  for  the  letter  S.  Place 


52 


HOW   TO    MAKE   SHOW   CARDS 


e 


o 


o 

55* 


HOW   TO    MAKE   SHOW   CARDS.  53 

the  compass  point  at  I  and  draw  the  two  upper  half 
circles. 

For  the  lower  part  place  the  point  at  2  and 
draw  the  two  bottom  half  circles.  The  radius  is 
the  same  as  in  drawing  letter  S  or  figure  8.  Close 
the  upper  curved  part  at  3,  4.  Draw  a  line  from 
lower  right  hand  corner  to  exactly  meet  the  inner 
upper  circle  at  A  and  a  line  limb  width  distant  to 
exactly  meet  the  outer  circle  at  6.  These  lines  may 
extend  half  a  limb  width  beyond  the  base  line  (6,  7) 
though  they  are  well  designated  within  the  rectangle. 
Draw  the  line  9,  10  (having  the  rule  pass  through 
the  lower  left  corner  at  8)  to  just  meet  the  lower 
inner  circle  at  9,  and  a  parallel  line  n,  12  limb 
width  distant  to  meet  the  larger  circle.  Close  the 
ends  of  the  slanting  bar. 

THE  EXPERT. 

The  mere  reading  of  the  explanatory  text  may 
present  the  subject  in  a  dry,  difficult,  uninteresting 
and  possibly  with  seemingly  a  labored  effort.  But 
this  is  quite  true  of  all  substantial  knowledge. 

The  expert  writer  by  the  use  of  just  the  knowl- 
edge contained  in  this  detailed  explanation  and  its 
rigid  examples,  is  able  by  the  aid  of  sketchy  guide 
lines  to  obtain  artistic  results.  The  beginner  if  he 
will  carefully  and  studiously  follow  al  >ng  the  lines 
here  laid  down  will  soon  find  that  a  surprising  amount 
of  this  detail  has  found  such  a  firm  lodging  place  in 
the  brain,  that  he  too  soon  resorts  t«>  the  use  of 
rough  and  sketchy  aids. 


54  HOW  TO   MAKE  SHOW  CARDS. 


3-  ~=t 


BOW  TO  MAKE  SHOW  CARDS.  55 


'DoMoflocak. 


MADE   WITH    ROUND   WRITING   PEN. 


CHAPTER  IX. 

ROUND  WRITING  PEN 
PRACTICE. 

The  best  method  to  gain  proficiency  in  the  use  of  the  round 
writing  Pen  —  Purposes  for  which  it  may  be  used  —  Un- 
surpassed for  making  small  card  signs  for  interior  of  show 
cases,  etc. 

HE  proper  shape,  formation  and  relative 
proportion  having  been  concisely  given,  the 
best  practice  for  the  student  will  be  found 
in  drawing  the  alphabet  with  the  Soennecken  pens. 

These  pens  produce  lines  of  various  widths,  as 
shown  by  the  illustration  of  them.  They  are  exten- 
sively used  for  show  card  writing,  ticket  and  price 
cards,  for  outline  and  border  lines. 

The  alphabet  can  be  very  quickly  made  with 
a  No.  2  pen  and  is  excellent  practice.  The  pen 
being  stiffer  than  a  brush,  is  the  best  tool  to  use 
after  the  pencil. 

Dispense  with  guide  lines  if  possible,  except 
those  denoting  height,  though  in  case  of  doubt  first 
attempts  should  be  lightly  indicated  with  a  pencil 
and  confidnce  gradually  acquired. 


HOW  TO  MAKli  SHOW  CARDS. 


GROUP  1. 


HOW   TO    MAKE   SHOW    CARDS.  57 


H 

$%$! 


MADE    WITH    ROUND    WRITING   PFN 


CHAPTER  X. 

SIMPLE    FORMS    OF   LETTERING 
AND   HOW  TO  OUTLINE. 

The  Alphabet  divided  into  Groups  —  i,  Letters  composed 
entirely  of  straight  lines  and  right  angles  —  2,  Letters  com- 
posed wholly  of  oblique  lines — 3,  Letters  combining  verti- 
cal, horizontal  and  oblique  lines  —  4,  Letters  composed  of 
combined  straight  and  curved  lines —  5,  Letters  composed 
of  curved  lines. 

GROUP  ONE. 

These  are  letters  composed  entirely  of  straight 
lines  at  right  angles.  For  the  purpose  of  showing 
how  simple  and  comprehensive  the  system  is,  the 
alphabet  is  divided  into  five  groups.  These  group 
letters  are  drawn  in  outline  to  show  the  various 
strokes  and  their  direction.  These  outside  lines 
may  be  drawn  with  the  pen  or  the  brush.  Which 
ever  is  used  the  strokes  are  best  made  as  indicated, 
though  there  is  no  hard  and  fast  rule  to  confine  one 
to  this  order  of  stroke  should  another  way  better 


58  HOW  TO  MAKE  SHOW  CARDS. 


GROUP  2. 


HOW   TO   MAKE   SHOW   CARDS.  59 

suit  his  special  ability.  The  first  group  is  composed 
entirely  of  straight  lines  at  right  angles,  and  these 
are  the  easiest  to  draw.  Try  to  reach  the  point  of 
skill  so  that  they  may  be  readily  drawn  without 
guide  lines  other  than  those  denoting  height.  First 
use  pencil,  then  pen,  then  brush,  and  produce  them 
at  various  heights  of  2,  3  or  4  inches. 

These  letters  are  all  "  laid  in  "  with  the  pen  or 
the  brush,  as  may  be  preferred,  their  outlines  being 
drawn  as  carefully  and  skilfully  as  one's  ability  may 
permit. 

They  are  then  to  be  filled  in  with  the  flat  brush 
and  any  imperfections  corrected.  These  have  not 
been  drawn  with  the  intention  of  producing  abso- 
lutely perfect  letters,  but  to  show  the  usual  pro- 
cedure and  result,  in  first  "cutting  in"  letters 
intended  to  be  "filled." 

Mechanical  methods  may  be  employed  to  pro- 
duce them,  but  try  and  dispense  with  all  aids  except 
brains,  hand  and  brush  as  fast  as  possible. 

GROUP  Two. 

These  are  letters  composed  wholly  of  oblique 
lines. 

Letters  may  be  made  wide  or  narrow,  tall  or 
short,  or  both  combined,  and  these  variations  some- 
times alter  the  rules  of  construction  slightly  in  order 
to  produce  symmetry  or  to  secure  legibility. 

For  letters  of  normal  dimensions  it  may  be 
remembered  that  M  and  W  are  about  half  as  wide 
again  as  N  or  H.  In  drawing  V  be  careful  not  to 
vary  the  slant  of  the  uprights  ;  they  should  be  the 


60  HOW  TO   MAKE  SHOW  CARDS. 


GROUP  4 


GROUP  4. 


HOW  TO  MAKE  SHOW  CARDS.  61 

same  angle.   The  top  of  X  should  be  slightly  smaller 
than  the  lower  part. 

GROUP  THREE. 

This  group  comprises  letters  of  combined  ver- 
tical, horizontal  and  oblique  lines.  Be  sure  and 
place  the  bar  of  A  below  the  center.  K  is  a  hard 
letter  to  make  look  pretty.  Remember  its  top 
descending  slant  joins  the  upright  well  below  the 
center  and  the  lower  slant  does  not  join  at  a  junc- 
tion with  the  upright ;  this  lower  limb  is  sometimes 
lengthened  or  the  top  one  slightly  shortened  to 
obtain  improved  appearance.  M  is  one-third  wider 
than  N  and  its  middle  limbs  come  down  to  base  line. 
N  should  be  drawn  by  drawing  uprights  first  and 
adding  the  oblique  line.  Y  is  a  carefully  drawn 
small  v  with  a  supporting  upright. 

.  GROUP  FOUR. 

These  are  composed  of  combined  straight  and 
curved  lines. 

In  making  B  and  R  the  upper  curves  should 
be  slightly  smaller  than  the  lower  portions  ;  the 
lower  limbs  of  R  may  be  given  a  slight  outward 
curve  which  is  a  bit  more  difficult  to  make  look 
well,  or  it  may  be  a  straight  slant.  The  remaining 
letters  are  easy  of  conception. 

GROUP  FIVE. 

These  are  composed  chiefly  of  curved  lines. 
These  are  the  five  hardest  letters  to  construct,  and 
consist  of  curved  lines.  In  drawing  these  the  stu- 
dent should  note  the  arrows  giving  the  direction  of 


62  HOW   TO    MAKE   SHOW   CARDS. 


GROUP  5. 


HOW   TO    MAKE   SHOW   CARDS. 


63 


the  stroke.  With  the  brush  this  is  an  essential  aid 
in  securing  speed  and  accuracy. 

O  is  usually  a  perfect  ellipse  and  is  the  founda- 
tion upon  which  the  other  curved  letters  are  built. 
Remember  what  has  been  said  about  holding  the 
brush  more  upright  than  the  pen. 

This  is  especially  necessary  in  curved  letters  to 
obtain  a  clean-edged  symmetrical  letter.  S,  which 
is  a  most  bothersome  stumbling-block,  requires  as- 
siduous practice  at  free  hand  in  order  to  secure  a 
graceful  curve  ;  its  upper  curve  and  circle  should  be 
always  smaller  than  the  lower  portion.  The  pupil 
may  use  penciled  guide  lines  for  this  letter  until  he 
acquires  confidence  and  skill  sufficient  to  make  such 
aids  unnecessary.  G  may  be  drawn  with  a  part  of 
cross-bar  on  its  lower  curve  drawn  toward  its  center. 
The  Q  bar  has  a  peculiar  twist  or  curve  to  the  right 
and  should  begin  at  a  point  well  toward  the  left  of 
the  center. 


Mot  mHater 
Settles 

i 

cfoe  \\inb  tbat  5o  not  leafc     !| 
or  gtrc  out  in  a  tvceh 


a— —*«..*— Ji    '       ' 

A   SPATULA    PICTURE  PLACARD. 


64 


HOW  TO  MAKE  SHOW  CARDS. 


CD    O 


HOW    TO    MAKE    SHOW   CAKDS.  65 

33  & 


MADE   WITH    MARKING   PEN. 


CHAPTER  XL 
SINGLE  STROKEJLETTERS. 

Mostly  used  where  cards  are  frequently  changed  —  The 
easiest  letters  to  make  are  these  —The  differences  between 
lower  and  upper  case  letters — Value  of  practice  in  making 
single  stroke  letters. 


INGLE  stroke  letters  are  mostly  used 
where  cards  are  frequently  changed  and  by 
busy  merchants  who  find  rapidity  essential. 
There  are  no  letters  easier  to  write  with  either  the 
pen  or  brush  than  the  single  stroke  Gothic  (see 
plates).  They  may  be  quickly  and  ;neatly  drawn 
with  the  brush,  using  a  No.  5  for  letters  ofjoae  of 
two  inches  high  and  a  No.  8  brush  for  two  inch 
letters  or  over. 

Keep  the  paint  quite  thick,  but  see  that  it  flows 
easily.  Persistent  practice  of  the  alphabet,  followed 
by  careful  criticism  of  the  work,  will  enable  one  to 
analyze  and  successfully  execute  any  alphabet  that 
may  please  the  fancy. 

In  using  a  brush  it  is  quite  necessary  to  acquire 


66 


HOW  TO  MAKE  SHOW  CARDS. 


I   i    I 


rrn 


HOW   TO   MAKE   SHOW   CARDS.  67 

skill  in  working  slow,  steady  sweeps,  if  clean,  well 
written  work  is  desired. 

Beginners  are  apt  to  make  short,  jerky  move- 
ments, which  result  in  jagged  edges. 

The  sweeping  stroke  gives  an  even  edge  to  the 
outlines  of  a  letter  and  is  the  secret  of  using  the 
brush. 

Do  not  allow  your  brush  to  be  on  the  outer 
edge  of  a  letter  unless  it  is  moving  at  a  slow,  even 
rate. 

Of  course  the  brush  has  to  be  removed  and  re- 
placed ;  but  before  removing  it  draw  it  away  from 
the  edge.  If  making  single  stroke  letters,  great 
dexterity  is  required  to  replace  and  remove  it  so  as 
to  retain  a  line  of  even  width  throughout. 

No  letter,  however,  will  be  more  easily  read 
nor  have  a  neater  appearance  than  those  of  the 
alphabet  given,  especially  when  used  with  the  small 
or  "  lower  case  "  letters. 

LOWER  CASE  LETTERS. 

• 

It  has  been  shown  that  all  letters  are  formed 
of  straight  and  curved  lines,  and  they  have  a  definite 
relation  to  each  other. 

This  is  not  quite  so  true  of  the  small  letters,  or 
"lower  case." 

The  knowledge  gained  by  study  and  practice 
of  the  capitals  will  be  a  ready  aid  to  the  construc- 
tion of  the  smaller  letters. 

They  are  divided  into  classes :  short,  ascending 
and  descending.  The  short  letters  are  a,  c,  e,  m, 
etc.,  the  ascending  b,  d,  f,  and  all  letters  whose 


68  HOW  TO  MAKE  SHOW  CARDS. 


HOW  TO  MAKE  SHOW  CARDS.  69 

height  is  equal  to  that  of  the  capital  letters  ;  the 
descending  are  those  extending  below  the  line. 

While  they  cannot  be  successfully  shown  in 
geometrical  monogram,  they  have  many  features  in 
common  that  will  be  readily  recognized  by  analysis 
of  the  respective  divisions. 

They  are  a  bit  more  difficult  to  execute,  per- 
haps, but  have  a  tendency  to  conceal  slight  inaccu- 
racies, an  advantage  which  "caps"  do  not  possess. 

There  is  also  a  certain  license  in  construction 
permissible,  providing  it  does  not  disturb  the  sym- 
metry of  the  line.  The  ascending  letters  should  be 
the  same  height  as  the  capital  letters,  except  the 
letter  t,  which  is  only  slightly  shorter  than  the 
other  ascending  letters.  The  short  letters  are  but 
one-half  or  one-third  as  tall  as  capital  letters. 

The  "lowercase"  letters  are  made  by  a  few 
easily  combined  strokes  with  much  rapidity. 

It  may  be  noted  that  the  letters  b,  d,  p,  q,  g 
have  almost  identical  construction,  being  composed 
of  the  same  curved  and  perpendicular  lines. 

By  closely  studying  the  manner  in  which  the 
perpendicular  joins  the  circle  o  shown  by  the  dotted 
lines  of  b  in  the  plate,  and  which  applies  to  all  these 
letters,  a  degree  of  skill  tending  toward  symmetry 
can  be  acquired  which  could  never  be  attained  so 
easily  and  quickly  without  this  knowledge. 

Remember  that  the  lower  limb  of  k  does  not 
join  the  perpendicular.  The  upper  slanting  limb 
and  the  direction  of  the  lower  slant  are  from  the 
lower  right  corner  of  the  letter  to  the  upper  left 
corner  of  the  perpendicular. 


70  HOW  TO   MAKE   SHOW   CARDS. 

If  the  similarity  pertaining  to  r,  m  and  n  is 
noted,  as  shown  in  the  plate,  the  doubt  always 
attending  the  writing  of  these  letters  is  at  once 
eliminated  and  confidence  established. 

Practice  these  lower  case  letters  with  pencil, 
pen  and  brush  and  be  careful  not  to  apply  too  much 
pressure  in  the  use  of  the  pen,  for  even  in  using  a 
pencil,  pressure  often  results  in  a  wavy  line  and 
ragged  edges.  Practice  of  these  thin  single  stroke 
letters  will  advance  the  student  more  rapidly  than 
any  other  method. 

The  principal  object  of  this  book — is  to  outline 
a  method  of  constructing  accurately  simple  letters 
and  to  describe  the  basic  principles  on  which  all 
successful  letter  building  depends.  The  author  has 
tried  to  show  how  one  may  successfully  acquire  the 
art  of  practical  show  card  writing  for  the  ordinary 
purpose  of  the  smaller  merchant.  Each  illustration 
has  been  carefully  worked  out  and  proven  to  be 
correct. 

The  practice  strokes  are  essential  and  their 
mastery  will  enable  any  one  to  make  creditable 
show  cards,  if  he  has  diligently  endeavored  to  ac- 
quire this  knowledge  of  the  basic  principles  which 
applies  to  all  letters.  He  will,  moreover,  after  a  few 
attempts,  be  able  to  analyze  and  execute  the  letters 
of  any  alphabet,  for  he  has  reached  a  point  that 
enables  him  to  judge  and  select  that  which  is  most 
correct,  best  suited  to  his  ability  and  most  pleasing 
to  his  taste. 

No  claim  is  made  of  having  exhausted  the 
subject. 


HOW   TO    MAKE    SHOW   CARDS.  71 


WE 

WANT  YOUR 
BUSINESS 


CHAPTER  XII. 
LAYOUT  AND  SPACING. 

General  principle  of  the  layout  —  A  concrete  example  show- 
ing how  a  7  x  ii  card  should  be  arranged  —  Space  required 
by  the  different  letters  —  The  Mental  Conception  —  Facts* 
not  "  tricks  of  the  trade." 


beginner  usually  will  confine  himself 
to  guide  lines  in  his  first  attempts  until  his 
eye  has  been  trained.  The  use  of'  light 
pencil  lines,  either  to  detail  exact  outline  or  to  in- 
dicate the  letter  approximately,  is  advisable.  One 
by  one  he  drops  these  suggesting  helps,  except  those 
of  a  very  sketchy  nature. 

We  will  suppose  that  we  wish  to  lay  out  the 
sentence,  "  We  want  your  business."  First  we  have 
to  consider  how  it  balances  best,  providing  we  decide 
to  make  more  than  a  single  line.  Our  card  being 
7x11  inches,  we  decide  it  better  to  use  three  lines, 
and  divide  the  space  by  light  pencil  lines  to  ac- 
commodate letters  one  and  one-half  inches  high. 
Finding  the  centre  of  the  card  in  width,  for  the 


72  HOW   TO    MAKE    SHOW   CARDS. 


HOW   TO    MAKE    SHOW   CARDS.  73 

word  "  we  "  we  note  that  W  is  one-third  wider  than 
E.  Consequently  we  must  allow  for  this  in  placing 
it  on  our  card,  which  we  do  by  placing  the  W  a  trifle 
farther  to  the  right  of  the  centre  than  we  should  do 
if  the  word  were  "BE,"  or  letters  requiring  equal 
spaces.  W  and  M  always  have?  to  be  considered 
when  the  matter  of  spacing  is  to  be  decided.  Hay- 
ing thus  lightly  indicated  the  "  WE,"  there  is  next 
the  line  "WANT  YOUR." 

Here  is  another  W  and  a  space  between  WANT 
and  YOUR  to  be  considered.  A  good  rule  is  to 
count  the  letters,  also  counting  the  space  between 
words  as  a  letter.  Doing  so  we  find  we  have  nine. 
Were  the  letters  of  the  same  width  we  should 
simply  indicate  our  ''space"  between  "WANT" 
and  "YOUR"  in  the  exact  centre,  but  the  W 
forces  us  to  place  the  "  space  "  a  trifle  to  the  right. 
This  is  difficult  to  give  a  rule  for,  for  it  should  be 
borne  in  mind  that  the  distance  of  letters  from  each 
other  should  be  equal,  this  distance  being  the  space 
between  any  two  nearest  points. 

Having  this  in  mind,  we  decide  by  indicating, 
first,  the  Y  of  YOUR,  and  then  the  space  to  left 
of  Y  and  then  place  the  T  in  WANT.  From  here 
we  work  in  both  directions  (right  and  left)  indicat- 
ing roughly  the  respective  letters.  If  the  spacing 
is  not  exact  we  can  easily  correct  it. 

The  next  word  '«  BUSINESS  "  contains  letters 
occupying  an  equal  space  each,  except  the  I,  and 
in  this  case  an  allowance  has  to  be  made  by  placing 
the  first  four  letters  a  trifle  to  the  left.  By  count- 
ing we  find  eight  letters  and  the  center  of  the  word 


74  HOW   TO    MAKE    SHOW    CARDS. 

between  I  and  N.  So  we  move  the  N  a  little  to 
the  left,  enough  to  balance  the  space  which  is  not 
required  for  the  narrower  letter  I.  This  is  not  diffi- 
cult to  estimate  without  measurement  other  than 
to  find  the  card's  center. 

If  one  cannot  "  paint  in "  in  free  hand  the 
letters  as  roughly  sketched,  he  may  carefully  out- 
line them  using  a  rule  if  wishing  to  do  so.  This 
outlining  may  be  done  with  a  pencil,  or  if  done 
with  a  round  writing  pen  and  then  filled  in  with  a 
brush,  no  retouching  is  required. 

All  this,  which  has  taken  space  to  tell,  is  easily 
remembered  and  wh<:n  once  understood  is  readily 
applied  to  off  hand  lettering,  ornament  and  design. 
These  are  to  be  considered  rules  to  be  followed  only 
in  so  far  as  they  relate  to  the  mental  conception. 
In  fact  it  is  these  seemingly  trivial  facts  which 
constitute  the  so-called  "tricks  of  the  trade,"  and 
which,  when  they  have  once  been  explained  con- 
cisely, are  easy  to  apply  in  practice.  It  is  also  these 
essential  "tricks"  which  are  seared  into  the  brain 
of  our  itinerant  artist  which  causes  you  to  credit 
him  with  abnormal  ability. 

In  spacing,  when  such  letters  as  W,  V,  A,  P, 
X,  Y  are  used,  especially  in  words  where  they 
appear  side  by  side,  they  should  be  placed  slightly 
nearer  each  other,  owing  to  their  peculiarity  of  con- 
struction. V  A  have  the  appearance  of  poor  spac- 
ing if  given  the  same  space  as  N.  H.  The  letters 
L  T,  when  placed  side  by  side,  appear  to  be  poorly 
spaced.  Many  card  writers  shorten  the  length  of 
the  lower  limb  of  L  to  obviate  this. 


HOW   TO    MAKE   SHOW   CARDS.  75 


CHAPTER   XIII 

INKS  AND  PAINTS. 

Ready-to  use  paints  —  How  to  mix  your  own  paints —  Foun- 
dations of  black  and  white  paints —  Formulas  for  numbers 
of  useful  mixtures  —  Dry  and  Moist  Colors  —  Waterproof 
ink  —  Paints  for  oil  cloth  —  White  ink. 


"ready  to  use"  preparations  of  the 
market  can  be  purchased  if  desired,  but 
quite  as  satisfactory  results  can  be  made 
from  one  of  the  various  formulas  which  are  given 
here. 

Most  of  the  best  and  busiest  card-writers  pre- 
pare their  own  colors,  using  some  of  these  or  simi- 
lar formulas. 

Many  find  it  a  convenient  way  to  get  half  a 
dozen  small  saucers  and  mix  dry  water  color  to  a 
stiff  paste  with  water;  reduce  this  with  mucilage 
arabic.  To  keep  it  moist  add  a  little  glycerine. 
Mix  each  saucer  about  half  full  of  color.  The 


76  HOW  TO  MAKE  SHOW  CARDS. 

saucers  may  be  set  away  for  use  when  wanted.  If 
the  colors  dry  out  in  the  saucer,  all  that  is  required 
is  to  flood  with  water  for  a  moment,  pour  off  and  it 
will  be  found  moist  enough  for  use. 

If  your  dry  lamp  black,  vandyke  brown  or  ver- 
milion does  not  readily  mix  with  water,  add  a  little 
grain  alcohol. 

Water  glass  is  in  very  general  use  as  a  base  for 
inks  for  ticket  writing.  This  is  soluble  in  water, 
and  the  aniline  dyes  are  much  used  for  inks  for 
color.  For  white  ink,  Chinese  white  zinc  oxide, 
etc.,  may  be  incorporated  to  a  right  consistency. 
The  use  of  more  mucilage,  water  glass  or  shellac 
gives  a  higher  gloss  to  the  letters.  But  too  much 
is  apt  to  crack  and  peel  off. 

The  following  formulas  will  be  found  reliable 
and  to  give  equally  good  results  if  properly  prepared. 

Gum  arabic  is  one  of  the  best  vehicles  for  all 
indoor  work.  The  mucilage  should  be  made  from 
clearest  pieces  of  gum.  Select  if  you  can  the  most 
transparent.  Dissolve  one  ounce  of  gum  in  four 
ounces  of  cold  water.  Do  not  use  the  po \\dered,  as 
you  will  not  get  a  bright,  clear  mixture.  Dextrin 
and.  glue  are  sometimes  used,  but  are  not  as  satis- 
factory. 

Another  equally  good  vehicle,  and  one  that  is 
waterproof  and  dries  quickly,  is  "boro-lac."  This 
is  made  as  follows  : 

BORO-LAC. 

Borax Y*  oz. 

Water 5      ozs. 

dissolve  and  add 

Shellac X  oz. 


HOW  TO  MAKE  SHOW  CARDS.  77 

Dissolve  by  the  aid  of  heat.  Stir  well  while 
dissolving.  With  this  any  dry  pigment  or  moist 
color  in  tubes  may  be  mixed. 

An  excellent  black  may  be  had  by  adding  to 
the  above 

Nigrossin i  dr. 

Tannin 20  grs. 

Picric  acid 8  grs. 

Ammonia  water 2  drs. 

Moist  water  colors  in  tubes  are  most  convenient 
for  use,  and  may  be  purchased  in  a  great  variety  of 
colors.  The  principal  ones  needed  and  most  used 
are  ivory  black,  lamp  black,  Chinese  white,  ver- 
milion, chrome  yellow  and  Prussian  blue. 

To  USE  DRY  OR  MOIST  COLORS. 

Place  a  portion  sufficient  for  your  immediate 
work  upon  a  clean  piece  of  glass,  or  a  small  shallow 
cup  designed  for  the  purpose,  and,  if  using  the  dry 
color,  first  moisten  with  water  to  form  a  mass  the 
consistency  of  soft  dough.  Then  add  a  few  drops 
of  mucilage  or  boro-lac  and  mix  well  with  a  flat 
knife  or  stick.  A  few  drops  of  glycerine  added  will 
sometimes  make  a  free  flowing  product. 

A  black  having  a  good  gloss  may  be  made  as 

follows  : 

WATERPROOF  BLACK  INK. 

Boiling  water '. 8    ozs. 

Borax,  powdered #  oz. 

Shellac  i      oz. 

Place  over  heat  and  stir  until  borax  and  shellac 
are  all  dissolved.  Then  stir  in  just  enough  ivory 
black  to  color  it  a  deep  black,  but  not  making  it  too 


78  HOW   TO   MAKE    SHOW    CARDS. 

thick.  More  shellac  makes  it  more  glossy.  More 
borax  will  make  it  less  liable  to  chip.  If  a  little 
indigo  is  added  the  black  will  have  more  of  a  bluish 
tinge  than  of  the  brown. 

JAPAN  BLACK  FOR  OIL  CLOTH. 
Ivory  black  ground  in  Japan  is  much  used  by 
sign   painters.     It  gives  a  fine  solid  black  and  is 
especially  adapted  for  use  on  oil  cloth  signs. 

RED  FOR  OIL  CLOTH. 

EngLsh  vermilion  dry,  if  mixed  in  white  dam- 
mar varnish,  makes  a  splendid  red  for  oil  cloth  and 
dries  with  a  bright  gloss. 

ANOTHER  WATERPROOF  INK  (GLOSSY) 

Asphaltum i  %  ozs. 

Venice  turpentine %  oz. 

Lamp  black  or  ivory  black %  oz. 

Turpentine 4     ozs. 

Mix.    The  turpentine  is  apt  to  spread  when  used 
on  card  board  having  a  soft  or  absorbent  surface. 

WHITE  INK. 

There  is  nothing  more  satisfactory  than  Chinese 
white  which  has  been  mixed  with  the  mucilage  or 
Boro-lac,  as  mentioned  previously.  Oxide  of  zinc, 
very  fine,  or  barium  sulphate,  rubbed  well  on  a  slab 
or  glass  with  a  little  mucilage  of  tragacanth,  to 
which  some  gum  ar.abic  has  been  added,  is  also 
found  very  useful. 

For  small  work,  bleached  shellac  dissolved  in 
alcohol  and  colored  with  any  of  the  aniline  dyes 
will  make  a  waterproof  ink.  It  must  be  kept  tightly 
corked,  as  it  rapidly  evaporates. 


HOW   TO    MAKE   SHOW   CARDS.  79 


LOOK   THROUGH. 


CHAPTER  XIV. 

PRIMARY  AND  SECONDARY 
COLORS. 

The  three  primary  colors  —  How  to  produce  secondary  col- 
ors —  Harmony  of  Colors  —  Two  color  combinations  — 
Three  color  Combinations  —  How  to  mix  colors  —  Test  of 
colors  and  their  analysis. 


blue  and  yellow  are  the  three  primary 
colors.  If  we  mix  any  two  of  them  we  pro- 
duce a  secondary  color.  Thus,  blue  and 
red  form  violet,  blue  and  yellow  give  green,  red  and 
yellow  makes  orange. 

Now  each  of  these  secondary  colors  will  har- 
monize perfectly  with  the  color  that  does  not  enter 
into  its  composition. 

Violet,  for  instance,  —  made  from  a  mixture  of 
red  and  blue,  —  harmonizes  with  yellow,  the  primary 
color  which  does  not  enter  into  its  composition. 
Green  having  no  red,  agrees  well  with  red  ;  orange 
forms  a  perfect  contrast  with  blue.  Either  of  these 
contrasts  has  the  effect  of  brightening  the  colors 


80 


HOW    TO    MAKE   SHOW    CARDS. 


.1 


-L-,   I 


^ 
N 

&> 


I  ^^ 

Li_    Ct-i 


m 

T.,.1^^-,1 
^1C 

^4) 

^ 
•^ 


O 


> 


HOW  TO  MAKE  SHOW  CARDS.  81 

employed  ;  a  red  and  green  appear  more  beautiful 
when  placed  side  by  side  than  when  used  singly. 

The  mixing  of  colors  is  a  very  different  matter 
from  using  them  side  by  side,  for  while  one  combi- 
nation of  the  primary  colors  gives  white,  another 
proportion  of  them  will  give  black.  Therefore,  be- 
cause red  and  green  may  appear  beautiful  side  by 
side,  it  does  not  follow  that  a  red  letter  on  a  green 
surface  would  look  well  at  all.  The  reason  is  the 
colors  are  somewhat  transparent  and  the  green  of 
the  card  or  paper  shows  through  and  dims  the  bril- 
liancy of  the  red.  The  same  would  apply  to  orange 
or  yellow  on  blue. 

The  best  contrasts  are  formed  by  the  comple- 
mentary colors,  though  the  primary  colors,  blue, 
red  and  yellow,  agree  well  together.  Colors  not  in 
harmony,  when  placed  near  each  other,  have  an 
effect  which  is  damaging  to  their  brightness  and 
unsatisfactory  to  the  eye. 

Black,  gray  and  gold  look  well  with  any  color 
or  their  combinations. 

The  following  combinations  will  be  found  to 
look  well  on  a  white  ground. 

Two  COLOR  COMBINATIONS. 
Crimson  and  bright  yellow,  bright  green  and 
warm  brown,  bright  green  and  vermilion,  blue  green 
and  orange,  ultramarine  and  carmine,  ultramarine 
and  maroon,  bright  yellow  and  light  blue,  bright 
green  and  purple. 

THREE  COLOR  COMBINATIONS. 
Carmine,  purple  and  ultramarine  ;  purple,  blue 


82  HOW  TO  MAKE  SHOW  CARDS. 

green  and  orange  ;  carmine,  ultramarine,  brown ; 
carmine,  bright  green,  purple.  Two  or  three  shades 
of  the  same  color  give  a  neat  effect. 

How  TO  Mix  COLORS. 

From  the  three  primaries  together  with  white 
and  black  any  of  the  following  tints  or  colors  may 
be  made. 

But  in  mixing  them  always  commence  with  the 
lighter  color  and  add  the  darker  one.  Much  care 
should  be  given  to  having  the  glass  and  knife,  or 
stick,  with  which  the  paints  are  mixed  perfectly 
free  of  color,  for  the  least  bit  of  black  will  certainly 
spoil  a  light  color. 

Violet  —  white,  blue,  red.  Bright  red  —  car- 
mine, pale  vermilion.  Bronze  green — green,  black, 
yellow.  Brown  —  red,  black.  Chestnut  —  red, 
black,  yellow.  Chocolate  —  brown,  red,  black. 
Copper  —  red,  yellow,  a  very  little  black.  Cream 

—  white,   light   yellow.     Deep   blue  —  black,  blue. 
Deep  green  —  blue,  yellow,  black.     Gray  —  white, 
black.     Green  —  yellow,   blue.     Gold  —  white,  yel- 
low, red.     Lilac  —  violet  and  a  bit  of  white.     Olive 

—  gray,  blue,  yellow.     Pink  —  red,  white.     Purple 
—  blue,    red.     Scarlet  —  vermilion,    carmine.     Sal- 
mon —  red,  yellow.     Straw  —  white,  yellow. 


HOW   TO    MAKE    SHOW    CARDS 


83. 


LOOK    AT   IT 


CHAPTER  XV. 
BRONZE,  FLITTER,  SMALT,  ETC. 

The  use  of  bronze,  flitter,  smalt  and  flock  —  What  they  are 
and  how  they  may  be  applied  —  Should  be  used  with 
judgment  —  The  use  of  chalk  —  Easily  removed. 


RONZE  can  be  purchased  in  many  colors 
—  rich  gold,  pale  gold,  silver,  fire,  etc. 
These  varieties  are  put  up  in  one  ounce 
packages  and  may  be  used  with  good  effect  in 
ornamental  lettering.  This  may  be  mixed  with 
mucilage  to  a  thick  paste  and  thinned  with  water 
to  supply  consistency,  or  a  liquid  mixture  may  be 
purchased,  designed  for  the  purpose. 

Another   method  is  to  use  a  thin  varnish,  or 
shellac,  diluted  in  alcohol,  and  paint  with  it.     As 


84  HOW   TO    MAKE   SHOW   CARDS. 

soon  as  it  becomes  tacky  the  bronze  powder  may 
be  applied  dry  with  a  dry  brush. 

Keep  bronze  powders  in  bottles  to  keep  them 
free  of  moisture. 

FLITTER. 

Flitter  is  a  flaky  tinsel  substance  and  can  be 
bought  at  paint  supply  stores  in  ounces.  The  colors 
are  gold,  silver,  purple,  fire  gilt,  etc.  It  is  much 
used  for  holiday  card  signs.  It  may  be  applied  by 
using  any  of  the  adhesive  substances  like  mucilage 
or  glue.  Preferably  use  a  thinly  diluted  glue  the 
same  as  you  would  use  paint.  After  painting  the 
lines. you  wish  to  have  covered  with  flitter,  lay  your 
card  on  a  large  sheet  of  paper  and  cover  the  lines 
well  with  the  flitter,  tipping  the  card  first  to  one 
side  and  then  the  other,  so  that  every  part  of  the 
wet  lines  are  covered,  then  shake  all  off  into  the 
paper  and  let  the  card  dry. 

SMALT. 

This  is  sand  colored  and  is  in  much  use  by  sign 
painters  on  wood  ground  and  also  on  oil  cloth. 
Blue,  black  and  maroon  are  most  popular.  The 
ground  work  is  usually  painted  with  an  appropriate 
color,  mixed  in  Japan,  and  the  smalt  immediately 
sprinkled  on  while  the  sign  is  lying  flat.  It  is  at 
once  set  upright  over  a  newspaper,  when  the  sur- 
plus comes  off.  It  will  dry  in  five  or  six  hours. 

FLOCK. 

Flock  is  felt  ground  and  dyed  in  a  variety  of 
colors  and  can  be  applied  in  the  same  manner  as 
smalt.  As  it  is  readily  blown  about  it  is  quite  an 


HOW   TO    MAKE   SHOW   CARDS. 


85 


undesirable  article  to  handle.  However,  interior 
signs  lettered  in  gold  flock  have  few  equals  in  rich- 
ness. 

CHALK. 

Chalk  crayon,  cut  to  a  sharp  edge,  is  used  to 
indicate  the  outline  of  letters  on  cardboard  of  a 
dark  surface.  All  traces  of  guide  lines  can  be  easily 
removed  by  slight  brushing  with  soft  dry  cloth  with- 
out injury  to  the  card's  surface. 


Z345 
G78GO 

SINGLE   STROKE    NUMERALS. 


86  HOW   TO    MAKE    SHOW   CARDS. 


Oakland! 
I)PUO 


'k/a/id/fye. 

$  Summit  St. 


SPEAKS   FOR   ITSELF 


HOW   TO    MAKE   SHOW   CARD  87 


KEEP    POSTFD. 


CHAPTER  XVI. 

HINTS   FOR  THE  SHOW  CARD 
WRITER. 

The  importance  of  a  good  scrap  book  —  Uses  that  may  be 
made  of  collected  letters  and  pictures  —  Borders  and  edge 
lines  — Use  of  the  atomizer  — The  drawing  board,  etc. 


'HERE  is  nothing  more  valuable  than  a 
scrap  book  in  which  to  keep  for  reference 
anything  of  interest,  or  that  may  be  con- 
venient or  useful  for  future  reference.  Magazines, 
newspapers  and  various  advertising  media  furnish 
abundant  attractions  in  various  styles  of  letters 
which  may  be  clipped  and  pasted  into  such  a  book. 
Have  at  least  two  pages  devoted  to  each  letter  of 
the  alphabet.  In  a  year  one  is  surprised  at  the  fine 


88  HOW  TO  MAKE  SHOW  CARDS. 

collection  of  odd  and  ornamental  styles  which  may 
be  readily  copied  or  can  be  transferred  if  desired  by 
tracing  paper. 

Initial  letters,  monograms,  etc.,  if  preserved 
for  a  few  years,  can  often  be  made  use  of  and  a 
valuable  collection  obtained.  Pictures  cut  out  true 
in  outline  and  when  wanted  for  use  may  be  pasted 
on  to  the  card  and  suitable  wording  added.  The 
pictures  must  be  carefully  cut  along  their  outlines 
and  neatly  pasted  in  place.  Give  the  back  a  liberal 
coat  of  paste  and  after  placing  it  where  you  intend, 
cover  with  clean  sheet  of  white  blotting  paper,  press 
firmly  to  the  card  by  rubbing  with  a  clean  cloth  on 
the  blotter.  The  blotter  and  cloth  will  take  up  and 
absorb  any  superfluous  mucilage  or  paste.  When 
the  picture  has  become  perfectly  dry  take  a  brush 
and  color,  and  paint  in  a  background  to  the  picture, 
shading  it  somewhat  after  the  effect  seen  in  photo- 
graphic backgrounds.  Use  very  little  color  but  have 
it  overlap  very  slightly  the  edge  or  outline  of  the 
picture.  This  method  produces  an  appearance  of 
the  whole  affair  being  painted  on  the  card. 

Another  useful  addition  to  the  scrap-book  are 
specimens  of  scrolls,  corner  pieces  and  ornamental 
dashes.  Scrolls  may  be  duplicated  by  the  use  of 
transfer  carbon  paper,  or  one  may  trace  them  with 
a  soft  pencil  and  then,  reversing  the  paper,  lay 
the  side  containing  the  soft  pencil  marks  next  to  the 
card.  By  hard  rubbing  on  the  upper  side  of  the 
paper  the  marks  will  be  sufficiently  transferred  so 
as  to  be  plainly  outlined  and  finished  with  pen  or 
brush. 


HOW   TO    MAKE   SHOW   CARDS.  89 

BORDER  AND  EDGE  LINES. 

These  lines  and  also  the  under-line  of  a  word 
or  words  as  well  as  the  lines  occurring  in  dashes 
and  ornamental  portions  are  most  neatly  made  with 
a  ruling  pen  such  are  used  by  architects  and  in 
mechanical  drawing.  There  are  many  styles  in  use. 
Usually  the  thickness  of  the  line  is  regulated  by 
a  thumbscrew  at  the  side.  Some  are  made  to  fit  a 
compass  for  drawing  circles.  For  ticket  writing 
nothing  is  more  convenient  for  border  lines  and 
other  purposes. 

These  pens  are  not  dipped  into  the  ink,  but  the 
space  between  the  points  is  filled  about  one-fourth 
full  by  means  of  your  paint  brush.  They  must  not 
be  overloaded  for  then  they  will  overflow  and  ruin 
your  work.  If  they  become  clogged  rinse  in  water 
and  wipe  with  damp  sponge.  Wipe  perfectly  dry 
when  through  with  its  use. 

SHOW  CARD  PHRASES. 

Your  scrap-book  will  be  more  valuable  if  you 
find  in  it  a  place  for  card  phrases.  These  attract 
attention  and  a  catchy  and  sensible  phrase  often 
has  a  selling  force  that  neither  price  nor  quality  can 
equal. 

USE  OF  THE  ATOMIZER. 

Atomizers  may  be  quite  successfully  used  for 
spraying  designs  where  two  tints  may  be  an  attrac- 
tive change.  A  portion  of  the  work  is  first  care- 
fully covered  with  some  neatly  designed  form  or 
cut  out,  either  circle,  oval,  scroll  or  panel  and  a 
thin  mixture  containing  very  little  color  is  sprayed 


90  HOW   TO    MAKE    SHOW   CARDS. 

from  an  atomizer  over  the  uncovered  portion.  The 
atomizer  which  is  similar  to  a  perfume  atomizer 
may  be  purchased  from  artists'  supply  houses.  They 
should  be  held  at  a  dibtance  of  six  inches  or  a  foot 
from  the  card.  Professionals  use  air  brush  for  this 
kind  of  work,  but  they  are  expensive  affairs  though 
they  have  a  larger  latitude.  A  little  practice  is  re- 
quired but  very  effective  work  in  light  and  dark 
tints  may' be  produced  with  a  little  care  and  skill. 

THE  DRAWING  BOARD. 

The  use  of  the  drawing  board  is  much  more 
convenient  than  a  desk  or  table  for  ordinary  work. 
You  can  have  your  cardboard  cut  to  desired  sizes  at 
the  place  it' is  purchased.  The  usual  size  is  22  x  28 
inches,  so  it  is  well  to  order  it  cut  to  half  sheets, 
quarters  or  eights  as  may  be  selected. 

A  convenient  size  for  a  drawing  board  is  about 
20  x  27  inches,  which  is  large  enough  for  the  usual 
work  one  has  to  do.  Procure  at  the  same  time  a 
wooden  T  square  24  inches  long  and  a  half  a  dozen 
thumb  tacks. 

When  your  cardboard  has  been  fastened  by 
means  of  the  tacks  perfectly  " square"  with  the 
edges  of  the  drawing  board,  the  T  "  square  "  will 
be  found  absolutely  essential  in  securing  true  per- 
pendicular and  horizontal  lines.  Make  your  pencil 
lines  with  a  soft  H  B.  Koh-I-Nor  pencil  and  also 
use  it  for  any  preliminary  sketching.  Make  the 
lines  as  light  as  possible  then  they  are  easily  erased 
when  the  final  "cleaning  up"  with  cert  gum  is 
reached. 


HOW  TO  MAKE  SHOW  CARDS. 


1)1 


STUDY  THIS  CHAPTER  CAREFULLY. 


CHAPTER  XVII. 
CATCH  PHRASES. 

A  collection  of  scores  of  ready  made  legends  that  may  be 
used  to  advantage  on  show  cards  —  Scintillating  sentences 
that  awaken  curiosity  and  stimulate  trade. 


A  trade  tonic. 

At  rock-bottom  prices. 

A  style  for  every  fancy. 

A  thought  for  the  future. 

A  friendly  tip. 

As  cool  as  they  look. 

A  vesting  investment. 

A  satisfactory  article. 

A  profitable  proposition. 

A  saving  worth  having. 


An  idea  of  our  own. 
An  unquestioned  value. 
Another  slip  in  slippers. 
Another  chance  to  save. 
An  investment  that  pays. 
A  chance  for  you. 
A  dream  in  leather. 
A  big  dollars'  worth. 
A  chance  for  saving. 
An  appeal  to  your  taste. 


92 


HOW   TO    MAKE   SHOW   CARDS. 


All  good  ones. 
A  dollar  stretcher. 
All  articles  of  merit. 
All  new  and  all  right. 
All  kinds  and  all  good. 
A  dainty  Christmas  gift. 
A  forecast  for  Christmas. 
Always  at  your  call. 
A  marvel  in  quality. 
All  we  say,  we  mean. 
All  yours  at  your  price. 
Brimful  of  style. 
Books  for  holidays. 
Buy  now  —  don't  wait. 
Bottom  prices  on  top. 
By  every  test  the  best. 
Buy  to-day  and  be  sure. 
Buy  and  own  a  good  one. 
Bargain  bulletin. 
Better  buy  early. 
Better  and  better. 
Best  in  the  market. 
Beautiful  and  different. 
Bargains — not  remnants. 
Cash  is  economy. 
Christmas  charms. 
Certainly  "look  good." 
Can  you  resist  these  ? 
Christmas  suggestions. 
Cannot  get  out  of  order. 
Come  while  they  last. 
Come  early  and  often. 


Costs  less  than  it  should. 
Coolness  contributers. 
Costumes  for  summer. 
Correct  in  every  detail. 
Cool  things  for  hot  days. 
Come  in  and  look  around. 
Don't  wait  too  long. 
Double  duty  of  dollars. 
Exclusive  for  this  week. 
Every  cent  counts. 
Every  one  satisfies. 
Every  buyer  pleased. 
Every  one  a  good  one. 
Everything  that's  new. 
Every  article  you  need. 
Every  day  a  bargain  day. 
Easy  to  possess. 
Full  of  merit. 
Frost-nipped  prices. 
For  prosperous  people. 
For  that  chilly  feeling. 
Fragrant  as  the  flowers. 
Fits  and  misfits. 
Food  for  thought! 
Fall  opening  to-day. 
For  use  and  beauty. 
For  the  summer  girl. 
Facts!  Facts!  Facts! 
Fine  goods  a  specialty. 
Footwear  built  on  honor. 
Finest  and  most  durable. 
Fine  tailoring  a  specialty. 


HOW   TO    MAKE   SHOW   CARDS.  93 

A  top-notcher  for  the  money. 

A  wise  person  buys  the  best. 

A  warm  thing  for  a  frosty  day. 

Attractive  styles  at  attractive  prices. 

A  saving  on  every  purchase. 

Art  in  cutting  —  skill  in  making. 

A  price  that  makes  you  happy. 

A  square  deal  for  a  round  dollar. 

Are  you  interested  in  low  prices  ? 

A  purchase  made  now  will  save  worry  Xmas  eve. 

A  new  line  at  a  new  price. 

Another  week  of  surprises. 

Another  chance  for  saving. 

An  inspection  is  all  we  ask. 

An  old  favorite  at  a  new  price. 

A  new  way  to  fill  an  old  want. 

Antique  finish,  but  modern  prices. 

A  pleasure  and  a  comfort  to  the  wearer. 

A  poor  article  is  no  bargain  at  any  price. 

Appropriate  goods  at  appropriate  prices. 

Any  time  is  a  good  time — now  is  the  accepted  time. 

A  chance  to  get  the  best. 

An  argument  for  early  buying. 

A  dollar  saved  is  a  dollar  earned. 

A  high  grade  at  a  low  price. 

All  money  looks  alike  to  us. 

A  good  thing  at  a  right  price. 

All  our  time  is  at  your  service. 

All  kinds  of  repairing  neatly  done. 

A  little  money  goes  a  great  way. 

All  merchants  trust  some  —  we  trust  you. 

A  little  higher  in  price,  but  cheaper  in  the  end. 


94  HOW   TO    MAKE   SHOW   CARDS. 

After  these  are  gone  —  no  more. 

A  mere  promise  gets  these. 

All  wool,  luxurious,  snug,  pretty  and  comfortable. 

Big  thing  for  little  money. 

Breezy  things  for  hot  days. 

Bright  things  for  dull  days. 

Big  bargains  in  bristle  goods. 

Broken  sets  at  broken  prices. 

Buy  now  if  you  want  the  best. 

Buy  what  you  want  —  pay  when  you  can. 

Beautiful  and  economical. 

Better,  but  cost  no  more. 

Be  a  friend  to  your  purse. 

Best  goods  are  easiest  sold. 

Big  values  for  little  pocket-books. 

Bargains  that  cannot  be  repeated. 

Best  investment  you  ever  made. 

Baby's  wants  have  our  special  care. 

Because  they  fit  well,  they  wear  well. 

Come  in  —  you're  welcome. 

Credit  for  those  who  ask  it. 

Costs  you  nothing  to  come  in. 

Credit  business  at  cash  prices. 

Choose  wisely  by  choosing  here. 

Cheapness  isn't  always  economy. 

Cash  prices  on  cash-bought  goods. 

Cash  is  the  axle  grease  of  business. 

Cannut  be  duplicated  anywhere  else. 

Crumbs  of  comfort  for  the  economical. 

Cash  or  easy  payments  —  to  suit  your  convenience. 

Correct  shapes  and  colors. 

Come  again  and  gain  again. 


HOW  TO  MAKE  SHOW  CARDS       95 

Correct  styles  at  correct  prices. 

Costs  but  little,  but  worth  much. 

Come  back  to-morrow  for  what  you  have  forgotten 

to-day. 

Don't  hesitate  —  now  is  the  time. 
Don't  wait  until  the  best  is  gone. 
Don't  decide  until  you  are  ready. 
Don't  wait  —  this  is  your  best  chance. 
Don't  forget  the  little  folks  at  home. 
Don't  think  too  long  —  these  bargains  won't  last. 
Don't  take  our  word  for  it  —  but  come  and  see  for 

yourself. 
Don't  bother  about  the  bundle  —  we'll  send  it  home 

for  you. 

Distinctive  —  uncommon. 
Dollars  do  double  duty. 
Dainty,  delicate,  delicious. 
Daily  hints  for  daily  needs. 
Dainty  things  for  dainty  people. 
Don't  economize  at  your  own  expense.  . 
Every  one  should  have  one. 
Every  one  worth  the  price. 
Every  expenditure  a  saving. 
Every  day  here  is  "bargain  day." 
Early  comers  get  the  best. 
Economy  is  its  own  reward. 
Early  things  for  early  spring. 
Especially  for  hard-to-suit  folks. 
Encourage  that  well  dressed  feeling. 
Entire  satisfaction  to  each  and  every  customer. 
Full  value  for  every  dollar. 
Furnishings  for  the  family. 


96  HOW   TO    MAKE   SHOW   CARDS. 

Full  of  snap,  style  and  wear. 

Few  as  good  —  none  better. 

For  fit  and  wear  and  style. 

Fair  prices  build  our  trade. 

Fall  effects  at  fallen  prices. 

Finest  grade  for  finest  trade. 

Fit  well,  feel  well,  look  well. 

For  the  summer  girl's  brother. 

Fat  facts  for  slim  pocket-books. 

Fall  and  winter  styles  now  ready. 

Fit  and  wearing  qualities  combined. 

Favorite  wear  for  fashionable  folk. 

For  modest  tastes  and  modest  purposes. 

For  those  who  enjoy  the  best  of  everything. 

He  buys  best  who  buys  first. 

We  win  trade  by  deserving  it. 

If  you  want  more  "Catch  Phrases"  send  the 
publishers  50  cents  and  they  will  send  you  a  book 
containing  over  three  thousand  and  four  hundred 
more  of  them. 


HOW  TO  MAKE  SHOW  CARDS.  97 


APPENDIX 


ILLUSTRATIONS 

OF 

PRACITICAL  WORK  THAT  MAY  BE  DONE  BY 

MARKING  AND   SHADING   PENS  AND 

BRUSHES  WITH  DIRECTIONS 

AND  EXPLANATIONS 

BY 

W.  A.THOMPSON 

PONTIAC,  MICH. 


NOTE  :  — Anyone  wishing  additional  infoimaticn  may  tbtcin  it  by 
writing  Mr.  Thompson  at  the  above  address. 


98 


HOW    TO    MAKE   SHOW    CARDS. 


HOW   TO    MAKE   SHOW    CARDS.  99 


MARKING   PEN  LETTERING. 


In  the  accompanying  illustrations  (Figs.  I  and 
2)  we  present  a  very  desirable  alphabet  for  neat  and 
rapid  work.  The  size  of  letters  may  be  varied  ac- 
cording to  the  size  of  pen  used.  ,Any  size  of  pen 
from  1-32  to  a  half  inch  wide  can  be  used  to  good 
advantage. 

In  lettering  always  use  a  downward  pressure 
and  only  sufficient  to  make  the  ink  flow.  The  small 
figures  and  arrows  show  the  order  in  which  each 
stroke  is  made  and  combined  for  a  finished  letter. 
In  practice  always  aim  to  have  the  capital  and  small 
letters  correspond  in  slant. 

The  small  arrows  in  the  illustrations  show  the 
direction  of  each  stroke  in  the  make  up  of  different 
letters.  When  movement  exercises  are  practiced 
the  utmost  pains  should  be  taken  to  repeat  them 
with  precision,  and  each  effort  should  be  carefully 
looked  over  and  studied  to  find  the  faults  by  com- 
parison with  the  copy. 

For  practice  work  use  a  No.  I  or  Marking  Pen, 
and  make  the  letters  larger  than  above  copy. 


100  HOW   TO    MAKE    SHOW   CARDS. 


«,» 


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H 

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HOW   TO    MAKE   SHOW  CARDS.  101 


way 


_pf  handling 

Prescriptions 

_/s  trustworthy. 


FIGURE   3.      MADE   WITH    MARKING   PEN. 

The  cards,  Figures  3  and  4,  were  lettered  with 
a  marking  pen  at  a  good  rate  of  speed  and  will  give 
an  idea  of  the  style  of  work  that  all  beginners  may 
do  with  a  very  little  practice.  This  class  of  work 
can  be  done  very  quickly  when  using  this  style  of 
alphabet.  Always  use  black  ink  and  white  card- 
board for  small  cards  in  this  style  of  lettering. 


HOW   TO    MAKE    SHOW    CARDS. 


Try  a 

+s~ 

Chop  Suey 

while  you  ivaif. 


FIGURE  4       MADE    WITH    MARKING   PEN. 

Quite  prominent  Soda  Fountain  cards  may  be 
cut  3  x  14  inches  (see  Figs.  5,  6  and  7).  A  full 
sheet  of  cardboard  22  x  28  inches  will  cut  14  cards 
of  this  size.  White  cardboard  with  black  lettering 
and  underlined  with  red  ink  will  present  a  very  neat 
appearance. 


HOW  TO  MAKE  SHOW  CARDS. 


103 


c 
<u 

PL. 

.s 

15 

)* 
rf 


£ 

j>> 

^ 

o 

'I 
^ 


s 

b|0 

00 

I 

oo 

T3 
C 
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104 


HOW   TO    MAKE   SHOW    CARDS. 


U 


< 

^•M^M.  ~^^^ 


HOW  TO  MAKE  SHOW  CARDS.  105 


VERTICAL  ALPHABET. 


In  the  illustrations,  Figures  9  and  10,  the  stu- 
dent will  notice  the  letters  are  vertical  instead  of 
slanting  style. 

In  practice  study  carefully  the  exercises  given 
in  the  first  line  of  both  illustrations  and  see  that 
you  have  the  proper  slant  of  pen  from  the  base  line. 
The  small  arrows  show  the  order  in  which  each 
stroke  is  made  and  combined  for  a  finished  letter. 

This  alphabet  may  be  made  very  rapidly  and 
also  have  the  appearance  of  being  somewhat  tasty 
without  extra  effort,  as  the  letters  are  formed  by 
natural  and  rapid  strokes  of  the  pen.  The  size  of 
the  letters  may  be  varied  by  making  the  letters  tall 
and  slender  or  by  making  them  low  and  extended. 
Study  and  practice  especially  the  form  and  make-up 
of  each  letter,  then  you  will  be  in  a  good  position 
to  vary  the  proportion  of  lettering  and  wording  on 
either  small  or  large  cards  and  tickets. 

The  lower  case  letters  given  in  Figure  10  will 
be  found  interesting,  as  a  few  simple  strokes  make 
up  the  full  set. 


106 


HOW   TO    MAKE   SHOW   CARDS. 


HOW   TO    MAKE   SHOW   CARDS.  K'7 


Useful 


Articles 

For 

Household 

Heeds. 


FIGURE   11.      MADE   WITH   MARKING   PEN. 

Spacing  of  the  composition  in  general  show 
card  work  is  very  important,  as  the  force  of  the 
message  of  the  card  is  largely  due  to  its  arrange- 
ment. Try  to  bring  out  the  headline  or  important 
part  of  the  card  very  strongly,  and  the  balance  in 
neat  and  compact  order. 


108  HOW   TO    MAKE    SHOW   CARDS. 


Ol 
o 


o 

p 
u 


o 


HOW   TO    MAKE   SHOW   CARDS.  109 


On  wcf  dat)5. 
and  of  her 


iclcphotw  us  your 
jDrug  watvte. 
—We 


FIGURE   15.      MADE   WITH    MARKING   PEN. 

Study  on  the  component  parts  of  the  letters 
and  the  different  strokes  in  relation  to  their  make- 
up will  always  lead  to  rapid  advancement  for  the 
energetic  student. 


110 


HOW   TO   MAKE    SHOW   CARDS 


U 

I 

a, 


HOW  TO  MAKE  SHOW  CARDS'.  HI 


PLAIN  PEN  SHADING. 


Pen  Lettering  with  Marking  Pens  and  shaded 
to  the  left  with  a  plain  pen,  as  shown  in  the  accom- 
panying illustration,  will  enable  any  one  to  make  an 
endless  variety  of  neat  show  cards.  On  white  cards 
make  the  letters  in  black  and  shade  with  light  green 
or  red. 

Lettering  on  colored  cardboard  should  be  in 
black  and  shaded  to  the  left  with  white  ink.  Use  a 
.marking  pen  for  shading  the  letters  with  white  ink. 

For  practice  paper,  use  a  good  grade  of  Manila 
wrapping  paper,  light  in  color  and  of  smooth  surface. 
When  cut  into  sheets  8  by  12  inches  or  10  by  18 
inches  it  will  aid  in  securing  the  very  best  results 
in  practice  work.  Colored  print  paper  in  green, 
blue,  orange,  will  work  splendidly  and  rest  the  eyes 
in  practicing,  both  in  day  and  evening.  Most  any 
color  of  paint  may  be  used,  but  white  paint  is  gen- 
erally preferred  in  practice  work  on  colored  paper. 
Most  any  job  printing  office  can  furnish  this  paper 
at  a  small  cost. 


112 


HOW   TO    MAKE   SHOW   CARDS. 


-a 


HOW  TO    MAKE   SHOW   CARDS  IIS 


INK  HINTS. 


Most  all  colors  of  ink  for  shading  on  white  card- 
board will  produce  a  neat  effect,  as  plain  pens  make 
a  flat  tint  stroke  about  half  the  depth  of  color  of  ink 
used. 

For  the  best  results  in  practice,  always  see  that 
your  ink  is  thick  enough  to  throw  a  full  and  even 
stroke  without  blurring,  and  you  will  save  time  and 
do  good  work  with  ease.  It's  a  common  fault  with 
most  beginners  to  use  ink  that  is  too  thin,  and  in 
many  cases  this  is  the  point  where  most  all  students 
fail  for  the  want  of  a  little  careful  study  in  keeping 
lettering  material  in  good  working  order. 

In  lettering  show  cards,  aim  to  have  the  letters 
prominent  yet  compact.  More  life  in  lettering  and 
general  arrangement  can  be  put  in  a  card  /x  11 
inches  than  is  generally  put  in  a  card  14  x  22  inches 
by  most  card  writers  who  do  not  give  care  to  spac- 
ing and  arrangement. 


114 


HOW   TO    MAKE   SHOW   CARDS. 


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HOW   TO    MAKK    SHOW   CARDS.  117 

AUTOMATIC 
SHADING   PEN  LETTERING. 


In  Figure  22  we  have  a  good,  practical  alphabet 
for  the  Automatic  Shading  Pen.  To  combine  the 
shade  or  flat  tint  in  this  style  of  lettering,  careful 
study  in  the  construction  or  make-up  of  each  letter 
is  very  important,  as  success  in  shading  pen  letter- 
ing depends  almost  entirely  upon  a  definite  knowl- 
edge of  how  and  when  each  part  of  stroke  of  the 
letter  is  made  and  connected. 

Practice  carefully  on  vertical  strokes  and  always 
try  to  keep  your  work  compact  —  not  too  large  in 
beginning.  Get  a  definite  idea  of  the  strokes  of 
the  letters  you  intend  to  make  before  beginning. 
Put  the  pen  on  the  paper  or  cardboard  before  start- 
ing the  movement  and  stop  the  movement  before 
or  as  you  raise  the  pen. 

In  beginning  the  first  stroke  of  letter  A  (large 
letters)  draw  the  pen  downward  the  length  of  the 
letter  (one  inch),  next  add  cross-bar  just  below  the 
center,  then  place  pen  at  top  or  beginning  of  first 
stroke  and  draw  horizontal  stroke  about  half  length 
of  cross-bar  and  run 


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HOW   TO    MAKE   SHOW   CARDS. 


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120 


HOW    TO    MAKE    SHOW   CARDS. 


HOW  TO    MAKE    SHOW   CARDS.  121 


BRUSH   LETTERING  — 
SINGLE  STROKE  BLOCK. 


The  letters  of  this  alphabet  are  formed  by 
natural  and  free-hand  strokes  of  the  brush  (see 
Figs.  26  and  27).  The  size  of  the  letters  may  be 
varied  by  the  use  of  large  or  small  brushes.  The 
brush  strokes  and  exercises  showing  the  construc- 
tion of  the  letters,  as  given  in  the  first  two  lines  of 
the  alphabet  plates,  will  be  good  practice  for  all  who 
are  interested  in  doing  neat  and  effective  show  card 
lettering.  In  single  stroke  lettering  there  are  just 
two  movements  of  the  brush  to  be  used  —  from  top 
to  bottom  and  from  left  to  right.  The  small  arrows 
indicate  the  direction  of  each  brush  stroke  in  form- 
ing each  letter. 

The  small,  short  lower  case  letters  should  be 
about  two-thirds  as  tall  as  h,  k  and  1,  which  are  the 
same  height  as  the  capital  letters.  In  lettering, 
the  brush  should  be  held  similar  to  the  manner  of 
holding  a  lead  pencil,  except  that  the  brush  should 
be  held  more  upright.  When  lettering  aim  to  have 
your  paint  rather  thick,  but  free  flowing,  so  as  to 
cover  well  in  each  brush  stroke  without  retouching. 


122 


HOW   TO    MAKE   SHOW   CARDS. 


HOW    TO    MAKE    SHOW   CARDS. 


123 


124 


HOW    TO    MAKE    SHOW   CARDS. 


HOW   TO    MAKE    SHOW   CARDS. 


125 


126  HOW   TO    MAKE   SHOW  CARDS. 


SHOW  CARD  ROMAN  — 
BRUSH  STROKE. 


For  ease  in  producing  practical  brush  stroke 
lettering  of  a  Roman  style,  one  should  have  a  good 
knowledge  of  general  form  and  make-up  of  the  dif- 
ferent letters.  This  style  of  lettering  can  be  made 
quite  rapidly  by  free-hand  brush  strokes,  as  indi- 
cated in  the  first  two  lines  of  alphabet  plate.  Use 
a  No.  9  Red  Sable  show  card  brush  and  make  the 
capital  letters  about  one  inch  high.  When  the 
brush  is  held  in  proper  position  and  used  with  a  free 
flowing  show  card  paint  (rather  thick)  all  curve  and 
straight  line  strokes  can  be  easily  made  true  and 
uniform  with  one  sweep. 

When  making  capital  letters  one  inch  high,  the 
short  lower  case  letters,  such  as  a,  c,  o,  s,  n,  etc., 
should  be  5-8  of  an  inch  high.  The  $  and  cent 
characters  should  be  small,  about  half  the  size  of 
figures. 


HOW   TO    MAKE    SHOW   CARDS. 


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128  HOW    TO    MAKE   SHOW    CARDS. 


HOW  TO   MAKE   SHOW   CARDS. 


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HOW  TO   MAKE   SHOW   CARDS. 


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KNOWLEDGE  f  Mil  THAT  PAYS 


If  you  are  looking  for  an  opportunity  for  mak- 
ing money,  or  if  you  are  not  satisfied  with  your 
present  position,  or  your  past  earnings,  you  will  find 
an  up-to-date  course  of  instruction  by  mail  in  Show 
Card  Lettering  and  Designing  the  best  investment 
you  ever  made. 

We  have  separate  courses  of  Show  Card  letter- 
ing instruction  for  Home  Study  in 

Marking  Pen  Lettering, 
Shading  Pen  Lettering, 
Soennecken  Pen  Lettering, 
Up-to-date  Brush  Lettering. 

Finished  card-sign  lay-outs  and  practice  copies 
are  furnished  for  student's  practice  outside  of  the 
lessons  and  alphabets.  Student's  work  on  each 
lesson  corrected  and  returned  postpaid  during  the 
course. 

Every  Student  a  Success. 

Catalog  of  lettering  supplies  and  full  informa- 
tion in  regard  to  price  for  instruction  courses  mailed 
free  to  all  interested.  Address, 

W.  A.  THOMPSON, 
16-18  East  Huron  St.,  Pontiac,  Mich. 


SPECIAL 

Practical  show  card  brush  stroke  alphabets  in 
full  working  size  at  only  25  cents  per  set,  —  capital 
and  small  letters. 

The  following  Alphabet  Charts  in  different 
styles  of  lettering  have  been  arranged  for  the  best 
results  in  favor  of  the  student.  The  movement  or 
direction  of  the  brush  strokes  in  forming  each  letter 
is  clearly  shown  by  small  arrows  in  the  exercises, 
and  also  in  the  finished  letters  of  each  alphabet 
together  with  figures  for  price  tickets. 

These  charts  are  just  the  thing  for  those  who 
have  not  the  time  to  devote  to  a  course  of  instruc- 
tion in  show  card  brush  lettering. 

Note  the  different  styles  as  follows.  Order  by 
number. 


..................  2  alphabet  charts,  Nos.  21-22,  25c.  postpaid 

Roman  .....................  2  alphabet  charts,  Nos.  23-24,  25c.  postpaid 

Italic  Roman  ..............  2  alphabet  charts,  Nos.  25-26,  25c.  postpaid 

Single  Stroke  Block  .....  2  alphabet  charts,  Nos.  27-28,  25c.  postpaid 

Brush  Text  ................  2  alphabet  charts,  Nos.  29-30,  25c.  postpaid 

Block"  .......................  2  alphabet  charts,  Nos.  31-32,  25c.  postpaid 

Semi-Script  ................  2  alphabet  charts,  Nos  33-34,  25c.  postpaid 

Thick  and  Thin  ..........  2  alphabet  charts,  Nos.  35-36,  25c  postpaid 

Script  ......................  2  alphabet  charts,  Nos.  37-38,  25c.  postpaid 

Old  English  ...............  2  alphabet  charts,  Nos  39-40,  25c.  postpaid 

The  full  set  of  alphabets  —  20  alphabet  charts 

-  at  $2.50,  postpaid,  is  the  biggest  offer  of  merit 

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The  outfit  contains  everything  that  is  essetial  for  the 
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1  N0.3SHADING  PEN $035 

1  No.  SMAEKING  PLN 35 

2  Doz.    ROUND   WRITING   PENS  (various 

sizes 35 

1  INK  RESERVOIR 05 

1  NHREE  POINTED  PEN  (No. 400) 10 

*1  BOOK  OF  INSTRUCTIONS 25 

4  FITCH  AND  SABLE  BRUSHES 40 

1  BOTTLE  SPECIAL  BLACK  INK  "Letterine"     .25 
1  BOTTLE  SPECIAL  RED  INK  "Letterine"     .25 

1  BOTTLE  SPECIAL  BLUE  INK 25 

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1  PACKAGE  GOLD  BRONZE 10 

1  SAMPLE  SIGN 10 

6  Doz.   PREPARED   BRISTOL  BOARD   (i.e. 
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In  this  outfit  are  the  most  necessary  tools  for 
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One  MarKing  Pen  No.  3. 

Tnree  Good  Brushes. 
One  Shading  Pen  No.  3. 
One  dozen  SoennecKer's 

Round  Writing  pens  eleven 
different  sizes. 

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(i) 
SPATULA  PUBLISHING  CO.,  Boston,  Mass. 


^rfrnaii  .  •  ^tfl  "i 


